SHOW CARD 
WRITING 




Class 



Book ^ U 
Gopyrightlsf?— 



CCFffilGHT DEPOSIT. 



MODERN 
SHOW CARD WRITING 



To the Retailers 

and their Sales Personell 

and the students of pharmacy 

this book is 

sincerely dedicated. 



Modern 
Show Card Writing 



BY 



JOSEPH BERTRAM JOWITT 

n 
Professional Show Card Writer, Show Card 

Instructor, Advertising Specialist and 

Merchandising Expert 

WITH 151 ILLUSTRATIONS 




CHICAGO, ILL. 

2058-2060 N. WESTERN AVE. 

THE NATIONAL DRUG CLERK, INC. 

1922 



\Jfe 



0,4,0 



Copyright, 1922, By The National Drug Clerk, Inc. 



" MAV 31 1922 

©CI.A674549 
6 



CONTENTS 

CHAPTER I. 
Materials, Tools and General Points of Information.. 1 7 

CHAPTER II. 
The First Steps ...22 

CHAPTER III. 
Six Key Strokes to the Egyptian Alphabet... 29 

CHAPTER IV. 
Planning the Show Card 36 

CHAPTER V. 
The Mechanical Method of Lettering 41 

CHAPTER VI. 
How to Outline and Fill In „ 47 

CHAPTER VII. 
Another Step In Outlining 53 

CHAPTER VIII. 
More About Outlining 59 

CHAPTER IX. 

How Outlining and Filling In Is Adapted to Pen 

or Brush Work 65 

7 



CHAPTER X. 
Modern Pen Lettering 76 

CHAPTER XL 
Old English Stub Alphabet 82 

CHAPTER XII. 
Flat Brush Script Alphabet 87 

CHAPTER XIII. 
Show Card Italic 91 

CHAPTER XII. , 
Mongrel Roman "Upper Case" 97 

CHAPTER XV. 
Mongrel Roman "Lower Case" ........102 

CHAPTER XVI. 
Mongrel Roman "Lower Case" N to Z 107 

CHAPTER XVII. 
The Mongrel Roman Numerals... 1 14 

CHAPTER XVIII. 
The Use of Pictures on Show Cards 120 

CHAPTER XIX. 

Single Stroke Poster Lettering 125 

8 



CHAPTER XX. 
The Speed Lettering Pen 131 

CHAPTER XXI. 
Detailed Study of the Speed Pen 137 

CHAPTER XXII. 
Detailed Study of the Speed Pen (Continued) 145 

CHAPTER XXIII. 
Detailed Study of the Speed Pen (Continued) 1 54 

CHAPTER XXIV. 
Detailed Study of the Speed Pen (Continued).. 163 

CHAPTER XXV. 
Easy Stencil Lettering 1 72 

CHAPTER XXVI. 
The Silhouette Effect In Show Cards 1 79 

CHAPTER XXVII. 
How to Use Wall Paper For Show Cards.. 184 

CHAPTER XXVIII. 

Utilizing Trade Marks In Show Card Writing 187 

9 



ILLUSTRATIONS 

Fig. Page 

1 . Single Stroke Egyptian Upper and Lower 
Case 23 

2. Single Stroke Egyptian Upper Case... 24 

3. Monogram Stationery Card 23 

4. Egyptian Numbers 25 

5. Hills Cascara Bromide Quinine Card 26 

6. Egyptian Lower Case 27 

7. The Vowel Key to all Alphabets 30 

8. Practice Illustration 31 

9. Triner's American Elixir of Bitter Wine 
Card 32 

10. Soda Fountain Card 34 

1 1. Correct and Incorrect Egyptian and Roman 35 

12. Show Card Layout Plan 37 

•13. Single Stroke Roman Alphabet 38 

14. Show Card Layout Illustration 39 

15. Y. & S. Stick Licorice Card 40 

16. Fly Swatter Card 40 

1 7. Thick and Thin Stroke Illustration 42 

18. Home Made Candy Card 43 

19. "Bevo" Card 44 

20. "Green River" Card 45 

21. Outlined and Filled In Roman 48 

22. "Purchase Checks" Card 49 

23. "Sodas" Card 49 

24. "Zymole Trokeys" Card 50 

25. "Say It With Candy" Card 51 

26. Light Luncheon 51 

27. Single Stroke Roman No. 2 54 

28. "Tanglefoot Roach and Ant Powder" Card 55 

29. Matinee Special Soda Card 56 

30. "Sunset Soap Dyes" Card 57 

31. "Sweets" Card 58 

32. Single Stroke Roman No. 3 60 

10 



ILLUSTRATIONS 

Fig. Page 

33. Baby Toilet Needs Card 61 

34. Vacation Needs Card 62 

35. Bathing Caps Card 63 

36. Fountain Card 64 

37. "Dianthe Talc" Card 66 

38. Full Roman Alphabet 66 

39. Paint Card 67 

40. Film Developing Card 68 

41. Full Roman Outlined and Filled In 68 

42. Spring Ionic Card 69 

43. Lower Case Show Card Roman 70 

44. Upper Case Show Card Roman 71 

45. "Glovers Mange Medicine" Card 72 

46. Lower Case Roman Outlined and Filled In.. 72 

47. Soda Fountain Card 73 

48. "Root Beer" Card 74 

49. Lower Case Roman Alphabet and Numerals 74 

50. Seed Card 75 

51. Show Card Roman Pen Letters 77 

52. Single Strokes for Pen Practice 79 

53. "Dolly Varden" Card 81 

"Charms Card" 81 

"Green River" Card 81 

"Soda" Card 81 

"San Felice" Card 81 

"Secret Sweets" Card „ 81 

"Gilbert's Chocolate" Card 81 

"Root Beer" Card 81 

"Almond" Card 81 

Price Cards 81 

54. Old English Stub Alphabet 83 

55. Cigars Card 84 

56. Xmas and New Years Cards 84 

57. Christmas Candy Card 85 

58. Perfumery Card 85 

II 



ILLUSTRATIONS 

Fig- Page 

59. Slanting Roman For Pen or Brush 88 

60. "Armour's Hot Drink" Card.. 89 

61. "Palco Aluminum Hot Water Bottle" Card 89 

62. "Eckman's Alterative" Card 90 

63. "Temptation Chocolates" Card 90 

64. Upper Case Show Card Italic Alphabet 92 

65. Hot Drinks Card 93 

66. Lower Case Show Card Italic Alphabet 
with Numerals 94 

67. Soda Fountain Flyers 95 

68. Mongrel Roman Upper Case Outlined 98 

69. Luncheon Card 99 

70. Christmas Candy Card 99 

71. Mongrel Roman Capitals Filled In 100 

,72. "Triner's Bitter Wine" Card 1 1 

73. Mongrel Roman Lower Case Outlined 103 

74. Stationery Card 104 

75. Soda Fountain Flyers... ...104 

76. Castile Soap Card 105 

77. Thick and Thin Roman Lower Case 108 

78-79. Correct and Incorrect Spacing 109 

80. Principal Strokes Used in Forming all Let- 
ters '. 1 10 

81. Candy Week 1 1 1 

82. Paint Card ..:, 112 

83. Thanksgiving Novelties Card 113 

84. Numerals 1 1 5 

85. "Ivory Pyralin" Card 116 

86. "Ex Lax" Card 1 1 7 

87. Stationery Card 1 18 

88. "Webers Chocolates" Card 121 

89. "Johnston's Chocolates" Card 121 

90. Hot Drinks Card 122 

91. Prescription Card (Owens Bottle) 123 

12 



ILLUSTRATIONS 

Fig. Page 

92. Java Face Powder 123 

93. Poster Alphabet 126 

94. Prescriptions (Stearns Dose Book) 127 

95. Poster Numerals , 128 

96. "Green River" Card 129 

97. "Irvington Chocolates" Card 129 

98. Pen Lettering Alphabet and Numerals 132 

99. "Campfire Marshmallows" Card 133 

100. "Day Dream Face Powder" Card 134 

101. "Mennens Talcum" Card 135 

102. Speed Pen Lettering No. 1 .'. 138 

103. "Davol Hot Water Bottles" Card 139 

104. Seven Size Description 140 

105. Candy Card '.....140 

106. "Armour's Hot Drink" Card 140 

107. "Bayer's Aspirin" Card 142 

1 08. Library Card 1 43 

109. Speed Pen Lettering No. 2 146 

1 10. Speed Pen Lettering No. 2 147 

111. Fountain Coffee Card 148 

I 12. Camera and Photo Supply Card 149 

113. "Fitch's Dandruff Remover" Card 150 

1 1 4. Stationery Card 1 5 1 

115. "Dentemet Tooth Paste" Card 1 5 1 

116. Home Made Candy Card 152 

1 1 7. Speed Pen Lettering No. 3 155 

1 18. Speed Pen Lettering No. 3 : 156 

1 19. "Weber's Chocolates" Card 157 

120. "Y. & S. Stick Licorice" Card 158 

121. "Pinaud's Hair Tonic" Card 1 59 

122. Paint Card 160 

123. Easter Novelties Card 160 

124. "Hostetter" Card 161 

125. Speed Pen Lettering No. 4 164 

13 



ILLUSTRATIONS 

Fig. Page 

1 26. Speed Pen Lettering No. 4 1 65 

127. Candy Card 166 

128. Soda Card 167 

129. "Boncilla" Card 168 

130. "Bayer's Aspirin" Card 168 

131. "Nuxated Iron" Card 169 

132. "Beecham's Pills" Card 170 

133. Easy Stencil Lettering Alphabet 173 

134. Ice Cream Card 174 

135. Easy Stencil Lettering Numerals 175 

136. Rubber Goods Card 176 

137. Kodak Card 177 

138. Prescription Card 177 

139. "Chlorox" Card 180 

140. Cigar Card 181 

141. Elephant Peanuts Card 1 82 

142. "Borden's Malted Milk" Card 183 

143. "Johnston's Chocolates" Card 185 

144. Hot Luncheon Card 185 

145. Christmas Gifts Card 186 

1 46. Hot Water Bottles Card 1 86 

147. Practice Strokes 188 

148. "Armour's Root Beer" Card 189 

149. "Analgesic Balm" Card 189 

"Ex-Lax" Card 189 

150. "Benetol" 189 

150. "Davol" 189 

151. "Ivory Pyralin" 1 89 

151. "Charms" 189 

151. "Green River" 189 



14 



MODERN 
SHOW CARD WRITING 



15 



CHAPTER I. 



Materials, Tools, and General Points of Information. 



Show card writing is as easy as it looks when once 
you know just where to place each stroke. Every 
body's hand is naturally a little shaky at first, but this 
should not discourage the beginner. All that is neces- 
sary is the desire to learn, patience, a lot of practice, 
and the proper working tools and brushes. 

While this book is primarily intended for the be- 
ginner, it will be found helpful to anyone who has had 
some amateur experience at lettering and desires to im- 
prove and add a commercial touch to his work, thereby 
enhancing the general appearance of the store and in- 
creasing sales — which means more money to him. 

Show cards are now an important asset to retail 
business, and their use is greater every year. 

At the outset, the beginner may as well know that 
it is next to an impossibility to learn to make attractive 
legible show cards with any old outfit. Expert show 
card writers will be found to possess the best brushes, 
pens, and tools, and to care for them almost relig- 
iously. 

The most important thing, besides practice and 
modern lessons with model alphabets, is the proper 
equipment with which to work. The fellow who keeps 
a pot of paint handy with an old ragged brush stuck 
in it will never be able to get anywhere in show-card 
writing. 

The best red sable show-card brushes are cheap 
when you consider what wonderful work can be done 
with them and how many years they last. The brushes 
used to do the lettering illustrating this article have 
been in constant use by the writer for over five years, 

17 



and will do better work today than the day they were 
purchased. Not once have they been allowed to dry 
over night with the ink left in them. The proper way 
to clean a brush which has been used in water color is 
to rinse it thoroughly in clean water by pulling the 
hairs between the thumb and first finger. Then place 
the brush away to dry, leaving the hairs in a straight 
flat position. This will eventually train the brush to 
make perfect strokes. 

See to it that you are in possession of regular 
show-card brushes. Genuine Red Sable show-card 
brushes are seldom made over one inch in length, and 
are entirely different from those made for Sign Paint- 
ers' use. The brushes used by sign painters are mostly 
made of fine camels' hair set in goose quills. The 
hairs are too long and soft for show-card lettering, 
neither will they hold a flat chisel shape. They also 
lack the proper resiliency for water-color work, like the 
firm elastic hair in the Red Sable. 

It is not necessary to purchase all the different 
size brushes. The brushes used mostly for the general 
run of show-card work are: Nos. 4, 6, 8, 10 and 12. 
Nos. 4 and 6 are generally used for very small lettering 
and the outlining of letters. No. 8, is used for letters 
about Yl inch high. No. 1 0, is general favorite for all 
lettering up to 2 inches in height. No. 12, is used for 
large captions or headings, particularly for single-stroke 
lettering. 

A large size brush may be "shaped" after it is 
dipped into the ink to do the work of a smaller size 
brush, but it is a mistake to try and spread out a small 
size brush to do the work of the larger one. Under 
these conditions the brush can not be relied upon to 
keep the strokes of any uniform width. 

The writer wishes to lay special emphasis on the 
proper consistency of show-card colors. While the 
same ink which is used for the brush may also be used 
with the pen by adding sufficient water to make the ink 
flow freely from the pen, if used too thin it will clog 
the pen and the results will be unsatisfactory. 

Show-card ink for brush use should always be as 
thick as heavy cream; if used in a watery condition the 
brush will not hold up or keep its flat single-stroke 
chisel shape. This is on account of the glue binder, 
glycerine and other ingredients.Keep Ink Well Stirred 

18 



Keep a small piece of glass or cardboard handy 
and flatten brush out on this each time after dipping it 
in the ink, and keep the ink used for the pen in a sep- 
arate bottle. 

The proper position in which the brush is held has 
more to do with learning show-card writing than one 
would imagine. Some beginners in their first attempt 
at lettering hold the brush at the middle of the handle 
and dip only the tip of the brush into the ink. This, 
of course, is all wrong, and no matter how faithfully 
you practice it would be almost an impossibility to 
make any real progress in this manner. It hardly 
seems so, but is true that success in show-card writing 
depends to a large extent on the position in which the 
brush is held. The real sable hairs in the lettering 
brush are made purposely long and full in order to re- 
tain plenty of ink with which to make long, straight, 
or sweeping strokes. It is impossible to make a long, 
straight single stroke unless the full length of the hairs 
is flat on the surface. The thumb and first and second 
fingers should be placed far enough down on the han- 
dle of the brush to touch the nickel ferrule. In this 
position, the beginner will have complete control of 
the brush and be able to steady the hand and keep it 
from shaking. The first joint of the little finger should 
rest flat on the surface to be lettered. This will give the 
other fingers the necessary support to make all straight 
up and down strokes, circles, and semi-circles. In mak- 
ing all sweeps or circulation strokes, do not twist the 
arm into an awkward position, but simply roll or twist 
the brush handle between the thumb and first finger. 
Do not stop in the middle of a sweep or straight down- 
ward stroke. Practice until the continuous stroke is per- 
fected. If your hand is unsteady (and it is perfectly 
natural that it should be) and your brush strokes ap- 
pear ragged, try resting the first joint of the little finger 
on the card or whatever surface you are lettering on. 
This will act as a spring and you will be better able to 
steady each stroke and make the brush go just where 
you want it to go. 

If possible the writer recommends a beginner rig- 
ging up a crude drawing board for show-card writing. 
This may be accomplished in the following manner: 

Build a small slanting portable drawing board to 
place on top of table or counter. Make it, say, 25x35 

19 



inches, or long enough to hold a full size sheet of card- 
board which measures 22x28 inches. 

This board should have a slant of about 45 de- 
grees. This may be accomplished by nailing a piece of 
wood 4 inches wide at the back, and an inch wide at 
the front, allowing a fraction of an inch to protrude 
above the board to prevent work from falling or slid- 
ing off. If the side or edge of board is perfectly 
straight, a "T" square may be used to rule the cards 
with by sliding it backward and forward along the 
edge. 

The best results are to be had by doing all letter- 
ing on an inclined plane, although a flat desk or coun- 
ter will answer. If possible, allow the light to fall over 
the left shoulder to prevent shadows falling over your 
work. 

It positively makes no difference in what position 
you place yourself while practicing. You may write on 
an inclined plane, standing up or sitting down. What- 
ever position is natural is the best. But be sure to keep 
the body ERECT. 

It is not necessary that the beginner purchase a 
whole lot of supplies. 

The show-card writer is fortunate in requiring but 
few tools to work with, and when considering the 
length of service these tools will render, only the best 
should be considered. The following outfit (which 
may be purchased from any paint, artists' supply, or 
stationery store) will be all that the beginner will re- 
quire: 

3 Red Sable show-card brushes, Nos. 6, 8 and 1 0. 

) bottle each of black, blue, and red show-card 
ink. 

1 dozen assorted round writing or lettering pen 
points. 

1 set of speed pens. 

1 "T" square or yard stick. 

1 piece of art gum (for erasing pencil lines). 

1 compass. 

This, with some cheap wrapping paper or old 
newspaper to practice on, will provide you with ample 
equipment to learn show-card writing. 

There are many different brands of prepared 
show-card inks on the market any one of which will 
prove satisfactory for brush work, and when thinned 

20 



with water will work equally well with the lettering 
pen. 

Show cards are so much in demand these days 
that firms specializing in show-card supplies can be 
found in all the principal cities. For the benefit of 
those, however, who live in small towns, supplies may 
be purchased from The Western Show Card Supply 
House, 2058 N. Western Ave., Chicago, 111. 

If you write to the above firm, they will be glad 
to send you a catalog from which you can make your 
selection. 

In order to be able to write show-cards success- 
fully and not waste one's time and efforts it is most 
essential to get started on the right track. Your success 
will then be measured by the amount of time you are 
willing to devote to practice and the close attention 
you pay to these instructions. While the writer will en- 
deavor to explain every detail as intelligently as pos- 
sible in the text matter, no clearer explanation can be 
given than the alphabets and show-cards accompanying 
the text. It is a mistaken impression some have that the 
art or talent must be inborn. Experience has proven 
that, in show-card writing, like in longhand penman- 
ship, practice alone makes perfect. 

In learning show-card writing, the beginner should 
strive more for effect than for detail. Hand lettering 
is not, and should not be in the same class as press 
printed or lithographed show-cards. The beginner 
should not be afraid of criticism. In many cases those 
who presume to criticise your work are either interested 
in you or are jealous of your ambition to do things 
and be different from other people. 

In show-card writing, it is simply a matter of 
PRACTICE and determination to accomplish, with the 
aid of these practical instructions and the necessary 
equipment, what eight out of ten have been able to 
accomplish. 

If the beginner will only devote one-half hour 
each day to practicing the alphabets and following the 
simple rules laid down here, he will soon be able to 
write legible and attractive show-cards. 

21 



CHAPTER II. 



The First Steps. 



Having for use the necessary materials, the first 
thing to consider is the laying out of the show-card, 
and there is a great deal more in spacing than one 
would think. A show-card which is properly laid out 
is half done. The first thing to do is to find the center 
and draw a straight line through it perpendicularly. 
This will help you to divide your words equally. For 
instance, take the word REMEDY. There are six let- 
ters in it, and the center line should come in between 
the letters M and E. 

Another important thing is to have plenty of 
margin around the edge of your show-card. It is much 
better to have the lettering small and the margin large, 
than to have the lettering large and the margin small. 
Always draw a marginal line in pencil around your 
show-card before starting to lay out your lettering, and 
try to keep within it. 

Sketch the lettering in lightly with a lead pencil 
to make sure of the correct size of the letters and of 
proper proportions. The pencil lines later can be 
erased with a piece of art gum, which is far better than 
an old rubber eraser, as it will not leave streaks on the 
card. Art gum is sold in nearly all stationery stores 
and you probably have it for sale in your own station- 
ery department. 

Explanation of the Single Stroke on Plate No. 1. 

First, two horizontal lines are necessary for all 
capital letters. These are top and B lines. 

Second, all capital letters should be one inch 
higher than the lower case letters. For instance, if the 
capital letters are to be four inches high, the space from 
the top of cap line to B line would be four inches, and 

22 



TOP OR CAP LETTER LfN£ 




P/aie No J 



Fig. I 



from A line to B line it would be three inches, and 
so on. 

The ten lower case letters, b, d, f, g, h, i, j, k, 1, t, 
are the only ones to extend to the top line. And g, 
j, p, q and y are the only ones extending below B line 
to bottom line. This bottom line is used very seldom, 







Sgypfian JVumerals 




Showing tlieir course of eonstruGtio/i 

67890 

Arrows s/udlu where to siari arid, stop. 

12345 

67890 



Fig. 4 

25 



Break up 

that Cold - 

CASCARA^ QUININE 

will do it 

in 

24 Hours. 



Fig. 5 

as these five letters are but rarely used together in one 
line of lettering. The following lower case letters, a, 
c, e, m, n, o, r, s, u, v, w, x, z, must be kept within 
the lines A and B. 

The words "single stroke" mean that the brush 
strokes should be the exact thickness of the bars of 
each letter; in other words, the letter D should be 
formed by four single strokes. 

The word DURGS was done with a No. 1 2 Red 
Sable show-card brush. The brush is held as an ordi- 
nary lead pencil and a free wrist movement is used. 
Most show-card inks are made for brush or pen use. 
They work better thick for brush use, but should be 
thinned for pen lettering by adding water. 

To form the letter D in DURGS, dip the brush 
in ink. Then work it back and forth from left to right 
on a piece of paper, to flatten out the hairs and give 
the brush a square chisel edge. Now follow the crooked 
arrows and note how the numbers indicate where each 
stroke starts and leaves off. The brush is always re- 
moved before reaching the line B. It is then turned 
sideways between the thumb and the first finger, mak- 
ing stroke Number 3, finishing the first bar of letter 

26 









0> 





N 



«S 



o 










X 







o 








<0 



I 

I 

1 




Fig. 6 

27 



D. Stroke Number 4 is a backward stroke, as the 
crooked arrows indicate that it begins just about where 
the figure 4 is. The next and last stroke, beginning at 
Number 5, is a downward stroke, stopping when bar 
Number 2 is reached. 

You will notice that the show-cards in this article 
are all lettered in this Egyptian type. In the next 
chapter we will show further work on this type. 



m 



CHAPTER III. 



Six Key Strokes to the Egyptian Alphabet. 



The two standard types of letters most popular 
for show-card writing are the Egyptian and Roman 
alphabets. The marked difference between these two 
types may be explained thus: 

All Roman letters are composed of thick-and- 
thin strokes. The Roman A is made with a light 
slanting or oblique stroke at the left, and a thick or 
heavy oblique stroke at the right and finished off with 
sharp "spurs" at the bottom of each stroke. 

The Egyptian or what is sometimes called "Round 
Block" is composed of single strokes of equal width 
all the way round and finished off squarely at the bot- 
tom of each stroke. These two types are distinctly 
different and should never be employed together 
within one word. 

In learning the Egyptian alphabet, which is by 
far the most legible of all, the beginner would do well 
to concentrate his efforts on practicing the five vowels, 
A, E, I, O, U, for in the formation of these letters will 
be found all the principal strokes used in the construc- 
tion of all letters. 

The six key strokes shown on the bottom of plate 
are the basic strokes used in forming the letters A to Z. 

The first is an oblique stroke which is used right 
and left carrying out the same angle of about forty- 
five degrees in making the six letters, A, V, W, X, Y 
and Z. 

The second stroke is an upright or perpendicular 
stroke which is the first stroke used in forming the let- 
ters, B, D, E, F, H, I, J, K, L, M, N, P, R, T, U. 

The third stroke is a short horizontal stroke and 
completes the letters B, D, E, F, H, L, P, R, T, by 
connecting with stroke two at right angles. 

29 





V 



<G 



10 



c 












•8 
4* 






I 



rt| 



I 



) 




a t 



8 



LtJ Giix iv n 




>- 



N 



X N 



Fig. 7 

30 




•i*}i e MYasyt 'Avasns cnHQM shj. 



Fig. 

31 



< * 



(A 




z 


cc 


a: 


o 


LU 


IXI 


o 


z 


z 


.X 


a 


< 






LU 




Pig. 9 

32 



Stroke four is used the least of all, it being the 
center stroke in the letter "S." 

Stroke five is a crescent or semi-circle stroke and 
is more difficult to master than the other strokes. It is 
used in forming the letters O, Q, C and G, and re- 
versed for D. 

Stroke six is an arched or bow stroke used in 
rounding off the letters B, P, R, D, J, S and U. 

The chart showing these simple key strokes 
should prove even to the most skeptical how simple it 
is to learn this alphabet. For instance, the letter A is 
a V reversed. The letter W is made up of two con- 
necting Vs. P and R are almost the same, as also are 
O and Q, C and G, E and F, and so on. 

A beginner makes a mistake if he expects to 
master show-card writing in two or three attempts. We 
must all pass through some elementary stage in learn- 
ing anything as important and worthwhile as show-card 
writing. As in physical exercises, progress is slow, but 
sure, and does not begin to show the results the student 
expects until after much persistent practice. 

Here below are a few DON'TS which are very 
important for every beginner to remember: 

Don't attempt to do any lettering without first 
drawing the top and bottom guide lines the height you 
wish your letters to be. 

Don't ever attempt to trim the edges of a brush, 
but purchase perfect stroke Red Sable brushes which 
do not require trimming. 

Don't expect your work to be an exact replica of 
the work you wish to emulate. Every show-card 
writer has a decided individuality about his work. It 
differs as much as in handwriting. 

Don't use the same show-card ink for brush as 
you do for pen. Brush ink should be heavy or thick. 
Otherwise the brush will not retain its flat shape. The 
same ink will answer for the pen, only it should be 
thinned to a proper working consistency by adding a 
few drops of water at a time. 

Don't forget to remove the temper from the let- 
tering pens before using by holding pen point in the 
flame of a match for a few seconds. This will make 
them more flexible. 

Don't try to crowd a whole newspaper on a show- 
card. The reading matter should be short, snappy, 
and to the point. 

33 



OUR 
^AVORITE 
OUNTAIN 

rappeS 

NUT FUDGE, 
MAPLE WALNUT, 
FIG CARAMEL, 
PEACHMELBA 



20* 



Fig. 10 

Don't shade letters on the right side, the left 
shade is the easiest and looks the best. Be careful not 
to get the shading color too dark. It should be a tint 
of gray, blue, or green. 

Don't hold the brush too tight. The hand must 
not be cramped in any way. Keep the ringers well 
down almost touching the nickel ferrule of the brush. 

Don't be too careful when making your first 
attempt at lettering. Boldness of stroke is what counts. 
Remember the old saying, "Those who hesitate are 
lost." 

The cost of paper and cardboard makes it rather 
expensive to use for practicing, and for this reason the 
writer suggests the use of old newspapers, especially 
Help Wanted pages, as these are free from heavy face 
type. The upright and horizontal column lines are 
already ruled and act as a guide for letters. This will 
reduce the cost of practicing to the minimum. Re- 
member to have the ink as thick as it can be con- 
veniently worked when lettering with the brush. 

About the most pleasing combination for a show- 
card for window display would be a light buff or corn 

34 



Incorrect 

ROMAN 

AND 

EGYPTIAN 

Correct 

ROME I 

AND 

EGYPTIAN 

Fig. 1 I 

colored show card, the lettering done in a dark ma- 
hogany brown and a border of tan color around the 
edges of card. 

White cardboard may be tinted with dry colors 
and then lettered, producing very artistic and pleasing 
effects. The necessary material for this is dry mineral 
paint or common dry color in powdered form, chalk 
or crayons. If chalks or crayons are used it is neces- 
sary to powder them. The dry colors may be pro- 
cured from any paint store. Dip a piece of cotton 
wadding or wool cloth in the dry colors and rub lightly 
over the surface of cardboard. Be careful not to col- 
lect too much powder on the cloth. Bear in mind that 
this is supposed to be a tint, that the powder must be 
placed lightly. Begin in the middle of the card and 
gradually work towards the edges with a rotary 
motion. One color may be placed over another to 
produce a rainbow effect. This same idea may be car- 
ried out in the smaller price tickets. 



35 



CHAPTER IV. 



Planning the Show-Card. 



The spacing and laying out of letters on a show- 
card is every bit as important as the formation of each 
letter, and we consider it important enough to devote 
an entire chapter to the planning of the Show-Card. 
Poor lettering properly spaced will present a much 
better appearance than perfect letters poorly spaced. 
There is no set rule governing the spaces between let- 
ters and words. The whole thing is gauged by ap- 
proximates until the eye becomes trained to the proper 
distances between letters and words. 

Because of their rounded and curved lines, all 
open or round letters such as A, C, D, J, G, L, O, P, 
Q, R, S, T, U, V, W, X, Y, should be spaced closer 
together than the square letters, E, F, H, I, K, M, N, Z. 
For instance, the letters in the word HIM should be 
spaced farther apart than the letters in the word LAW. 

The method, illustrated here, of right and left 
lay-out is particularly suitable for beginners, for the 
simple reason that the words do not have to be cen- 
tered on the show-card. The first letter of each word 
starts on a line, but does not have to end at any given 
point. Of course, a liberal marginal line must be pre- 
served around the edge of the card. It is a good idea 
to prepare a cut-out or mask like the one illustrated 
herewith. This will be a big time-saver for ruling lines 
on show-cards. The spaces painted with solid black 
are the ones which should be cut out. This same 
scheme will also be found a big time-saver for small 
window price cards. In cutting out mask, use the point 
of a sharp pen knife and cut on a slant. This will 
prevent ragged edges. If more lines are required on 
the card than the spaces permit the cut-out may be 

36 




Fig. 12 

moved up or down. — The spaces between the cut-offs 
may be used for smaller lines of lettering. The larger 
space at bottom of card is for a price mark. 

The single-stroke show-card Roman alphabet 
which is shown herewith in both capitals and lower 
case is considered to be the most serviceable and by 
far the most practical for general commercial use on 
account of its simplicity and pronounced legibility. For 
the benefit of those who do not know what the term 
"single-stroke" means, the following explanation is 
given : 

The term "single-stroke" is not intended to con- 
vey the impression that each letter is formed entirely 
with one single stroke, but by the fewest possible 
strokes from a brush which is so perfectly constructed 
that but one application is necessary to each individual 
part of a letter. Time was when brushes used for let- 

37 




TTTF7 






One netJwd of single by out 

Fig. 14 

tering were so poorly constructed that each letter was 
built up with a series of many little strokes. That 
method is alright for sign painters, who have to be 
careful to form each letter exactly. But with the show- 
card writer it is altogether a different proposition. His 
idea is to get effect, while with the sign painters every 
detail counts. 

There are "styles" in lettering on the order of 
mongrel alphabets, but when it comes to something 
"Absolutely New" in the design of an alphabet, let 
me say that there is nothing absolutely new under the 
sun in the line of alphabets. The standard orthodox 
alphabets which have been handed down for ages are 
known in the terms of Roman, Gothic or Egyptian, 
Script, Full-Block and Old English Text. Anything 
"new" in lettering is either an extreme or a modifica- 
tion of the above alphabets mentioned. 

If the beginner would only concentrate on the 
alphabet shown herewith until he is competent to form 
each letter in a legible manner, he will then be able to 
copy any other style of lettering he may take a fancy 
to, because almost every other type which carries the 
light and heavily shaded lines is a mongrel extraction 
of this orthodox show-card Roman. 

39 




«■— Mmmmmmmmmm, 




Y&S . 

Stick !•• 
Licorice 



10 



* 



J\ Remedy for 
Coughs Scolds 



Fig. 15 




CHAPTER V. 



The Mechanical Method of Lettering. 



There are eleven circular letters and fifteen square 
letters in the Roman alphabet. The letters which are 
made inside of a perfect circle are: O, Q, C, D, G, S, 
U, J, R, B, and P. The letters made inside of a perfect 
square are: H, A, M, E, K, F, L, I, N, T, V, W, X, Y, 
and Z. This entire alphabet may be made with the 
aid of a common school compass and a straight edge 
or ruler. As these letters are composed of a thick and 
a thin stroke it will help the beginner to make better 
progress if he will cut out two strips of cardboard the 
exact width of the thick and the thin strokes and use 
these cardboard strips in drawing the letters. 

This method of teaching lettering by following 
perfect circles, right angles, and horizontals, is one of 
the best to train one's eye and hand. 

Always remember to allow one-eighth of the 
space extra for the letters M and W. The remaining 
letters of the alphabet, excepting the letter I, all re- 
quire equal space. 

By this method you will soon be able to draft a 
complete alphabet. 

It is an excellent idea, in fact, to make a complete 
set of all the letters in the alphabet and cut them out 
to use as pattern letters with which to draft others. 
Keep the pattern letters between the leaves of an old 
book, and thus prevent them from warping or curling 
up at the corners. It is better, of course, to cut these 
letters out of stiff cardboard which will not curl or 
tear easily. A useful and conveniently sized letter is 
one an inch and a half or two inches square. 

The two strips of cardboard for marking out the 
letters, to which reference was made above, are used 
in the following manner. 

41 








x 






**v$o B~~^^^^^^^^^"^™^^^ 




1 * 


■^ TjSB^^ 


1 CO -j 




> ^^^k w 


. I a 1 1 


J / 












J 

I 

u." 
ui 


i^s 
















- 


\ N 




W 




\ ^ 






\ , 




Fis. 1 



Let us say you want to draw the letter E. First 
mark out the square the size you wish the letter to be. 
Then you will notice that the top, center and bottom 
ctrokes of the letter (E) are all thin when compared 
to the thick and heavy main upright stroke. You will 
also observe that this same proportion of thick-and- 
thin strokes is carried out in every letter of this type. 
So the two pieces of cardboard, one cut twice the thick- 
ness of the other, will greatly facilitate the marking out 
of letters. 

The main object of this system is to teach circular 
strokes by following perfect lines, as it is particularly 
important to train the eye equally well as the hand. 
Therefore, if, in practicing, the student follows perfect 
lines he will make more progress than if he copies 
letters freehand from an alphabet before him. 

All round letters such as O, Q, C, G, D, and S, 
will appear a trifle smaller than the square letters. This 
is on account of the curved or semi-circular lines which 
touch only the inside of the square at four equal points. 

43 







Theall-year'round 



DRINK 

Served at th& 
Fountain 



== 



, Fig. 19 

Because of this, the compass should be set to extend a 
trifle beyond the square for the circular letters. 

The only difficulty the beginner will encounter in 
practicing lettering by this square and circular method 
is in the spacing of words and letters. This of course 
cannot be done altogether in a mechanical way, as all 
open letters, such as F, J, L, P, T, V, W, and Y require 
less space than do the square or round letters. The 
thickness of the thin bar is the correct space between 
letters and the thick bar the space between words. 

By applying the lessons learned in chapter No. 5, 
your eye will soon tell you how to space correctly be- 
tween words and between letters. 

Your attention is called to the show-card featur- 
ing "GREEN RIVER." These letters were done by 
the square and circular method. Of course, they are 
not so graceful as the other letters, which were done 
freehand. But this mechanical method is so simple 
that anybody can work it out successfully. Of course 
it has its limitations. It cannot be used for lower-case 
letters or for the Roman numerals. 

44 




<5lhelm&pp 
PME jj 

Drink 






=== 




Fig. 20 

You will observe that most of the letters are 
shaded in light gray. This shading tint is made by 
adding a very little black to any white show-card ink. 
By this touch of gray shading, even the plainest letter- 
ing can be made to stand out as if raised. 

Letters look their best when the shading is done 
at the left, although some prefer to shade at the right. 
The same size brush is used to shade as was used to 
form the letter. Start a little below the top of each 
letter and bring the shading down to the bottom and 
under the letter, like the shading on the words "Green 
River." Never allow the shading color to touch the 
sides of the letter, keeping it about one-eighth of an 
inch away. 

A great many make the mistake of mixing the 
shading tint too dark. It should be very faint, like a 
shadow. The plainest show card can be made attrac- 
tive by shading the lettering and adding a border of 
the same tint around the edges of the card. 

The border can be made very easily. First, draw 

45 



a line in pencil around the edge of the card where you 
wish the border to be. Then trace over the pencil line 
with a No. 10 or 12 red sable show-card brush in the 
following manner: Dip the brush in the color and 
work it back and forward on a piece of paper so as to 
distribute the color evenly through the hairs of the 
brush. Then hold the brush between the thumb and 
the first finger, keeping the fingers well down on the 
ferrule of the brush. The handle of the brush should 
be at an angle of about forty-five degrees. Hold the 
card in the left hand, place the tip of the third and 
fourth fingers on the edge of the card all the while you 
draw the brush along and you will have a perfectly 
straight line. 



46 



CHAPTER VI. 



How to Outline and Fill In. 



There are two methods of show-card writing im- 
portant for the beginner to learn. The first is "outlin- 
ing," and as the name implies, consists of forming the 
skeleton of the letter and then filling in the body. The 
other is the "single-stroke" method, where each letter 
is made solid, using a single stroke for each part of the 
letter. 

The outlining method is better for the beginner. 
It acquaints him with the general formation of the 
alphabet, and gives him an opportunity to correct his 
errors. In outlining and filling in, crooked letters can 
be straightened, ovals made more perfect, while in the 
single-stroke method, each brush stroke is final. There 
is no denying that single-stroke work is most rapid, 
after it is mastered, but those who are not proficient 
will find its use to be a case of "more haste, less 
speed." 

Beginning in this Chapter we are starting a series 
of four lessons, the first covering A to G; the others 
H to N, O to U, and V to Z. They will include both 
the "upper and the lower cases and the numerals. 

The reason for giving the alphabet in this man- 
ner is to give the beginner just a few letters upon which 
to concentrate and practice. This prevents his wander- 
ing aimlessly through the whole alphabet, passing by 
letters that can be mastered at one time. For instance, 
take the capitals, E and F, C and G. Compare them 
and you will find that it takes but one stroke to trans- 
form the F to an E, or the C to a G. 

When undertaking lettering of any kind, it is 
absolutely essential to draw guide lines for the top and 
bottom of your letters, and try to keep within these 
limits. This applies to practice as well as to more 

47 



t pfeaspjhirchaspt 



_ii_ 



Fig. 22 



finished work, 
shown in this 



In the execution of the outlined letters 
lesson, sketch them roughly with a 
pencil, retrace them with a number 4, 5, or 6 Red 
Sable brush, and fill in the body with a larger brush 
of convenient size. 

Your attention is called to the exercises at the 
bottom of the alphabet plate. Beginning with the 
lower case, "a," they show a series of free-hand circle 
strokes which are the principal ones used in forming 
the Roman alphabet. These scrolls and circles were 
executed with a number 4 Red Sable brush held be- 
tween the thumb and index finger with the handle of 
the brush straight up, the other three fingers clenched 
in the palm of the hand, and using a free wrist motion. 
This is the best possible practice, and will teach brush 



Solid lettering done with N91. Pen, 




OUTLINED 
WITH *4 BRUSH 



made from 
syrups of 

quality 



Fig. 23 

49 



For 

Husky Throats 



MOLE 
TlOKEYS 

Medicated 
and mildly 
antiseptic 



Fig. 24 

control to better advantage than anything the beginner 
could attempt. 

It is next to impossible to make a graceful scroll, 
oval, or circle with slow, painstaking strokes. These 
designs and letters must, of course, be copied, but in 
doing so use quick, deliberate strokes rather than the 
slower ones. It is not a question of how much ground 
one covers, when practicing, that produces results, but 
the time spent in concentration upon a few letters to 
get a fair idea of their formation. Another point the 
writer would like to emphasize is that all Roman let- 
ters, composed of light and heavy lines, are made with 
the tip of the brush, using little, or no, pressure. All 
heavy face type, such as full block, or Egyptian, is 
made with the full stroke of the brush, using the entire 
length of the hair in the operation. 

The writer has often heard people remark that 
they could never learn show-card writing because they 
"write a very poor hand." Strange as it may seem, 
handwriting has absolutely nothing to do with the 
knack of lettering with pen and brush. It is simply a 

50 



■<•$* 



"Say it 

with 

Candy"- 

Assorted 

Chocolates 



1 



Fig. 25 



Box. 



Size of card 12 * 16 inches 



Light Luncheon 

Ham Sandwich, ^ ^^ x 

Jelly Doughnut -Cl 1| 



and Coffee 

(aonewith*2 ten. 



Fig. 26 

51 



matter of drawing straight, horizontal, perpendicular, 
oblique, or circular strokes. Today this is a simple, 
easy process, in view of the fact that one is able to 
procure modern tools; tools that require no trimming 
or breaking in, and were not within the reach of the 
beginner a few years back. 

In copying the lower case letters here shown, the 
reader will notice the five guide lines necessary to cor- 
rect formation. The letters a and c, and e are formed 
within the center guide line. The letters, b, d, and f 
extend above to the top guide line, while the letter g 
extends above and below the center guide line, with 
the upper loop just touching the center guide line. 

Your attention is called particularly to the direc- 
tion arrows and their number in rotation. The loop at 
the tail of the arrow denotes the beginning of each 
stroke, the "cross" denotes its termination. 

The "filling in" process is accomplished with a 
larger brush, taking care not to go beyond the outlines. 
It is a good idea to begin by filling in the widest part 
of the letters first, gradually working toward the nar- 
rowest space. This same alphabet is a general favorite 
for pen lettering. 

All the smaller lettering on the illustrations for 
this article was done with number 1 and 2, round 
writing or steel engrossing pens, but, instead of being 
outlined and filled in, they were made with a series 
of solid single strokes. 



52 



CHAPTER VII. 



Another Step in Outlining. 



The Roman letters H to N, shown herewith, com- 
prise the second chapter of the show-card Roman 
alphabet. Instead of each letter being outlined, as in 
the first lesson, they are made in solid stroke forma- 
tion. This is done so the beginner will get a compre- 
hensive idea of the solid single-stroke method, but in 
copying this plate the beginner should continue to out- 
line each letter and then fill in the center as instructed 
in first lesson. The third lesson, Chapter VIII, will 
show the letters outlined as in the first lesson, Chapter 
VI, while the fourth lesson, Chapter IX, will show the 
entire alphabet done by the single-stroke method. 

The lower-case letters, directly under the capital 
letters, show the simple method of formation, with the 
unfinished brush strokes and the finished solid black 
letter directly opposite. These letters are two inches 
high and were made with a No. 1 2 Red Sable brush. 
In outlining, use a No. 4 or 6 brush. The capitals are 
4 inches high, and were made with a No. 18, or a one- 
half inch flat brush, but for outlining use a No. 6, and 
a No. 12, to fill in. The sharp spurs at the top and 
bottom of each stroke are the earmarks which add 
character and finish to each letter. 

About the most difficult thing experienced in first 
attempts at lettering is to keep all perpendicular 
strokes perfectly upright. Letters will either lean to 
the right or to the left. The proper way to overcome 
this fault is to hold the brush handle almost perpen- 
dicular to the card and directly in front of you, always 
keeping the fingers well down on the handle so they 
just touch the ferrule. 

Never attempt any kind of lettering without first 
drawing horizontal marginal lines the height you wish 

53 



Card W»22in Upright 

center I Li 




'2-incli Margin all around 



Fig. 28 

the lettering to be. The capital letter "I," at the top 
of Fig. 27, shows plainly just how near this top guide 
line the main stroke should start, and where it should 
stop at the bottom. The spurs at the top and bottom 
of each letter finish it off like the letter "N" at the end 
of first row. 

The card featuring "Tanglefoot Powder" shows 
the method of outlining and filling in with the exact 
dimensions for laying out a card of this size. The let- 
ters are first roughly sketched in pencil and afterwards 
perfected in outlining with a number three or six brush, 
or according to the size of letters required. 

The most artistic and by far the most popular 
kind of show card is made with black lettering on a 
white background. Red should be used with discre- 
tion, and only for very special sales, where great 
emphasis is required. Too much red ink on a show- 
card positively cheapens its appearance and minimizes 
its value. 

For instance, on the half-sheet featuring "Satur- 
day Sweets," the one dollar is painted in bright red 

55 



Matinee 

- Special - 
Fresh Fruit 

Strawberry 

-Frappe- 

Delieious 

Home Made 

Ice Cream 



Fig. 29 

ink and shaded with a light gray. This being the only 
red on the card naturally makes the price in question 
a very powerful attractor and if the candies are tempt- 
ingly displayed, results are certain. The caption, 
"Haven't you forgotten something?" will also set an 
absent minded customer to thinking of other things he 
intended to purchase. 

To successfully master all the curved and circular 
strokes used in forming the round letters such as B, C, 
D, G, J, O, P, Q, R, S, and U, it will be necessary for 
the beginner to have a correct structural formation 
firmly imprinted in the mind's eye. Otherwise prelimi- 
nary practice on drafting, formation, or the move- 
ments necessary to successfully lettering will be mis- 
directed. The best way to become familiar with the 
fundamental principles governing correct lettering 
formation is to place a piece of thin white paper over 
these letters and trace them out with a pencil, brush 
or stub lettering pen. 

The beginner should not attempt to make too 

56 



Sunset 
Soap 
Dyes ~ 

Will not 
soil the 
bands - 

22- 

Past Colons- 



Fig. 3 

many fancy ornaments or scrolls until he becomes 
more proficient at lettering. The knack of making 
graceful scrolls is much more difficult to acquire than 
lettering. It is astonishing how a few fancy dots here 
and there on a card will embellish the plainest kind of 
lettering. The tints used for all shading or scroll work 
should be very light in color, the general rule being 
seven-eights white to one-eighth body color. 

Hairline stripes (black or colored) around the 
edge of a card, give a neat and finished appearance. 

This may easily be accomplished with the aid of 
a compass, inserting in one end a number 3, or 4, stub 
lettering pen point. The other end of the icompass 
being a sharp metal point is placed at the outside edge 
of card, after adjusting the compass to the width you 
desire to make your border. It is then a simple matter 
to run it around the edge of card. If the edge of card 
is straight the compass hairline will also be straight. 

Show-card writing should never be confused with 
the art of sign painting, because the two fields are 
widely different. Sign painting is a profession, which 

57 



~~ 

■ 



Havent 




©u 

j forgotten 
CVmethin^ 

Saturday 
Salerf I 
Sweets „ 

Bv the Box. JUStf 




Fig. 3 1 

requires years to learn, particularly the important 
branches such as gold lettering on glass, pictorial and 
advertising lettering, embossing, and so forth. The 
sign painter uses oil colors and the hairs in his brushes 
are much longer than the show-card writer's. The 
class records kept by the trade schools show that 70 
percent of the students enrolled successfully acquire 
the knack of show-card writing in a few months time. 

The writer has received letters from beginners 
who are desirous to learn how they may develop more 
speed in their work. Speed in lettering only comes 
with constant practice. It is much better to practice 
fifteen or twenty minutes every day, than an hour once 
or twice a week. Daily application will do more to 
help one acquire speed than hours of spasmodic 
practice. 

No matter from what angle you look at show- 
card writing plain BLACK lettering on a white card 
is a simple process if these instructions are closely fol- 
lowed — and the plain BLACK and WHITE card is 
a definite result getter. 

58 



CHAPTER VIII. 



More About Outlining. 



Herewith is shown the third chapter of a simple 
method of forming the standard show-card Roman 
alphabet by first outlining a skeleton letter and filling 
in the center with solid black. Letters which are first 
made in outline and afterwards filled-in are generally 
recommended to all beginners, although some prefer 
to tackle the single solid stroke method which is the 
more difficult at first, but by for the speediest and 
easiest method after the knack of brush manipulation 
has been acquired. 

The letters O to U, shown on Fig. 32 in capital 
and lower-case, give a very clear idea of the several 
brush strokes used in the formation of each letter. 

Take the first capital letter "O" at the top of the 
plate. It requires just four sweeping strokes to com- 
plete the skeleton outline. Stroke No. 1 , starting at 
the top to the left, is brought down to the bottom 
line, and the brush removed where the word stop 
indicates. These same strokes are used in the forma- 
tion of the capital letter "Q." The letter "R" shows 
the identical strokes used in forming the letter "P" 
with the exception of the tail belonging to the "R." 

The letter "S" is the most graceful and probably 
the most difficult letter to balance properly, as it re- 
quires eight single-strokes to complete its outlined 
formation. The loop at the top should always be 
smaller than the one at the bottom. 

The next letter "T" is simply a series of straight 
strokes. In forming the letter "U" the only curved 
strokes, 1 1 and 1 2, are at the bottom of the letter. 
The safest course to pursue in filling in letters is to 
begin at the widest part of each letter and gradually 

59 




Fig. 33 

work toward the narrowest part, shaping the brush all 
the while to fill only the open space. 

The lower-case letters are much easier to learn 
as they are simple in their construction and require but 
a few strokes to complete. The letters "p» V and 
"t" extend below and above the body guide line to 
just one-quarter of the distance between the main 
guide lines. 

No one can reasonably expect to get anywhere in 
show-card writing unless he is willing to practice. The 
most important elementary strokes are shown at the 
bottom of the plate, and should be done in a bold 
free-hand manner. The operation of filling-in is ex- 
cellent practice, because the necessity of keeping well 
within the skeleton outline of each letter makes the 
student more sure of himself when he attempts the 
single, solid stroke method. 

In show-card writing it is not a case of how many 
sheets of paper one covers while practicing that brings 
the best results. Indiscriminate practice without some 

61 




Fig. 34 

practical system to follow leads the student very often 
into paths of defeat. It is a much better idea to write 
words when practicing instead of making A, B, C over 
and over. By practicing this way, the beginner 'will 
not only train the eye to proper letter formation, but 
will unconsciously secure a better idea of spacing be- 
tween letters and words. It is an easy matter to select 
several words which embody the entire alphabet, or 
you can take the following sentence: "Pack my box 
with five dozen liquor jugs." Every letter of the alpha- 
bet may be found in these eight words. 

Advancement is sure to be slow and success at 
lettering very doubtful for the fellow who claims his 
work "all right" and doesn't seek to improve himself 
each time he takes in hand a brush or pen. If some of 
our readers who are interested in learning show-card 
writing would save some of their first practice work 
and compare it with their later attempts, they would 
no doubt be astonished and very much encouraged at 
their improvement. 

62 




In the most 
wanted colors 



50*1*2 



Fig. 3 5 

The writer, who has practically given his entire 
time to this line of work for the past twenty-five years, 
has seen many succeed at show-card writing who 
thought they couldn't even "draw a straight line." 

The Roman alphabet is about the most practical 
type for all around show-card writing. There is really 
no such thing as a new alphabet. The so-called "new 
ones'' are simply the old ones reclothed. Take for 
example the alphabet reproduced herewith. For two 
thousand years it has been preferred by readers and 
letterers and has been a base for lithographers to build 
upon, tear apart, reconstruct, condense or extend, thus 
evolving what they term "new types.'' Many of these 
are christened with meaningless trade names, and only 
tend to confuse the average beginner. Remember, 
there are really only five standard types of alphabets 
which are known as: Roman, Egyptian or Gothic, 
Full-Block, Script, and Old English. All other types 
of letters are simply modernized extractions of these 
five. 

63 . . 



$>"*rf>J!'4\"i?& 



A Dainty and 
appetizing 

Lunch 

Served with a 
cool refreshing 

Prink 

At tile 

Fountain 



Fig. 36 

We repeat, that one of the most important things 
to consider in show-card writing is the text, or compo- 
sition, of reading matter. A show-card which has the 
appearance of being crowded, with little or no border, 
loses a great deal of its value as an advertising medium. 
The busy public or a likely customer will not stop to 
read a lengthy story. Experience has proven it im- 
practical to put as much wording on a show-card as 
one would in a newspaper advertisement. 

Another equally important thing is plenty of open 
space between words and guide lines. Also liberal 
margins around the edge of a show-card. Notice the 
cards reproduced here, how the whole story is told in 
as few words as possible. 



64 



CHAPTER IX. 



How Outlining and Filling In Is Adopted to Pen or 
Brush Work. 



In this article the writer shows the practical side 
of the Roman alphabet, the most popular alphabet 
used for commercial purposes. This is the fourth and 
final Chapter on the method of outlining and filling 
in. The complete alphabet is here shown. 

To demonstrate more clearly how easily this type 
may be utilized with every kind of a lettering tool, the 
show cards illustrating this article have been prepared 
in the following manner: These cards are all one-half 
sheets, or measuring 22x14 inches, and are lettered 
upright, using dull-finished black show-card ink. Card 
No. 1, "Dianthe Talc," was executed with a No. 10 
and No. 1 2 Red Sable Brush. The large letters at the 
top are two inches in height, the words "delightfully 
perfumed" are one-inch letters, the price thirty-five 
cents is four inches high. 

Card No. 4 illustrates what may be done with the 
different size large flat single-stroke brushes. Card 
No. 3 shows the Roman type executed with the stub- 
round writing pens. These little pen points are indis- 
pensable where much reading matter is required on a 
show card. For quick action and neatness card No. 2 
shows what may be done with the speed pens. There 
is a different width pen point for almost any size letters 
required. 

The only real secret to the knack of pen lettering 
is in keeping the ink of even consistency while using it, 
and this is a simple matter when once studied. Many 
a beginner has labored unnecessarily trying to make 
the pen "work" when it really was not the fault of the 
pen, but the ink. 

65 



N° 1 



MM 




Del ighin illy 



c 



/ 



Pet •fittiir.d |u 




y^7X 10 frfeBruskSorfiU^, 

betters Outlined wtfA *4- SmsA 



Fig. 3 7 




ARCDKKd 



H1JKLMNO 
PORSTIJVV 

WXYY7?i 



Fig. 38 

66 




iiiptin£ 

Let us prove to you tj^p 
-the Economy in 
buying 

- 6 iga|yfife 

fmmt 

Stem, 



<^7fie Popular tPAarmaCi 



wy. 



& 



Fig. 3 9 

Show-card "gloss" pen ink is made of a com- 
bination of lamp black, glycerine and gum arabic, and 
if exposed to the air for any length of time it will 
gradually evaporate and become thick and in this 
condition is too heavy to flow freely from the pen. 
The best way to keep it in proper working condition 
is to add only two or three drops of water at a time. 
Procure a small bottle, fill it full of water and cut a 
small groove in the side of the cork. The drops may 
then be regulated without any danger of making the 
ink too thin. 

Few people who have not tried the speed pens 
realize what a wonderful lettering tool and time-saver 
they are. They are now made by several different con- 
cerns and are known as "speed pens" and "speed ball 
pens." 

The best ink to use in the speed pen is India ink, 
which is made in several different colors. 

The speed pen is a practical tool and meets the 
demand for an all around lettering pen. It can be used 
with success in making Roman letters, Full-Block let- 



67 





Let us 

Develop 
your | 
Films ! 



Snap Shots 
J[ Specialty 





Fig. 40 



Full Roman - Outlined and filled in. 



ABCDEFGHI 

OPQ 






L 

TUV 








! 



Fig. 41 

68 



. and if yon are not 
full of Pep" you 
need a 




one 

after each meal . 

John Joiies&Son 

^ D racists. 



Fig. 42 

ters, Egyptian or Old English letters, and it is remark- 
ably simple to operate if the instructions are followed. 
Constant practice with the speed pen will enable 
the beginner to do much brush work. If letters larger 
than three inches in height are wanted, it is advisable 
to first outline them with a small speed pen, and after- 
wards fill them in with a brush. The speed pen gets its 
name on account of the rapidity one may letter with 
it. The little fountain which is attached to each pen 
retains sufficient ink to write several words. If the 
flat bill of the pen is placed squarely on the card it 
will glide smoothly over the surface without scratching 
or blotting. The strokes forming each letter should 
be made from left to right downward. Never push the 
pen upward. These pens are not intended for finished 
lettering like the stub or round writing pens, but are 
the handiest tools ever invented for "knock-out" price 
tickets and show-cards, and if a little gray shading is 
worked around the letters, like the card illustrated 
herewith, it greatly improves the general appearance 
of the card. Another point of convenience in connec- 



69 




CO 



C£ 



CO 

o 



x 
</) 

<D 

co 

cd 
O 

L 




c 
£ 

CD 

o 



45 



^ NO 






fcs- 




OQ 




« X 







CO 











Fig. 44 

71 



N? 3 card- 



Don't 
Worry / 

If you are troubled 
with Dandruff or 
Falling hair - 
Try 

Glovers 
Mange Medicine 

A sure remedy 



Jel&redwtfJL 1.2&3.SIU&', 



Fig. 45 



- Lower Case- Roman Outlined and 'filled' ui. 

.eeimosuivw 



Q 



o o 




^ 



PMJTOt 



Roman Numerals 



123456 










Fig. 46 
72 




Three 
Fountain Specials 



Ck 



ocolateNut 
Sundae 



20t 



Pineapple 
Frappe 



20 



Maple Nut ori 
Delight LDl 



Fig. 47 

tion with these speed pens is, that ordinary pen hold- 
ers may be used for any of the five sizes. Care should 
be exercised to dip the pen each time deep enough in 
the ink bottle to ^ill the reservoir attached. 

The principal strokes for the beginner to concen- 
trate on in copying this Roman alphabet are the circu- 
lar and angle strokes. The letters C, D, G, O, Q, R 
and S constitute the principal circular strokes; A, K, 
M, N, V, W, X, and Y, the angle strokes. In practic- 
ing, better results are obtained in writing out words 
which contain the twenty-six letters of the alphabet. 
For instance, "The Quick Brown Fox Jumped Over 
The Lazy Dogs." In these nine words will be found 
every letter of the alphabet. In the old method of 
copying an alphabet A, B, C, etc., the student was 
compelled to learn the spacing of words separately. 
This, without question, was monotonous and to some, 
discouraging. But by practicing the alphabet in the 
way above mentioned, the beginner will unconsciously 
acquire the knack of spacing as he improves in his 
lettering. 

73 



N? 4 



Delicious, 
Refreshing 

Root 
Beer 



5* 



//%. and fe Ixe/t 5^// Ttrt/sh^ 



Fig. 48 



aacemnorsnvwe 



Sfeffiggg 



YMSSmmMSi. 



I234fifi78af» 



. 



Fig. 49 

74 



Beat the 

H$4L 

Plant your 

Vegetable 

Garden 

Now! 

Headquarters for 

SEEDS 



Fig. 5 

The reader's attention is called to card No. 1 on 
which the words "Dianthe Talc,'' and the price "35c" 
are accurately spaced. But the spacing of the words 
"Delightfully Perfumed" is incorrect, and to the 
trained eye practically spoils the appearance of the 
show-card. In dividing letters in one line to the right 
and left of a center line, allowance should be made for 
such letters as t, i, f and 1, particularly in the lower 
case. They should occupy about one-half the space 
occupied by such letters as a, h, o, m, w and x. 

The "Root Beer" card is a very simple layout. 
The two top lines of lettering are 1 ^4" high. The let- 
ters in Root Beer are two inches high. The price 5 c is 
4y 2 inches high. The card as before stated, is a half- 
sheet, lettering done upright. 



75 



CHAPTER X. 



Modern Pen Lettering. 



Pen lettering constitutes a very important part of 
modern show-card writing. Small price tickets are as 
important as show-cards, and the pen does the work in 
half the time required by the brush. 

Study the twelve price tickets of as many shapes 
and sizes shown on the plate with the black back- 
ground. These are standard size tickets and were cut 
from a full sheet of cardboard, 22x28 inches, without 
leaving any waste. 

No one will dispute the fact that a great deal of 
the success of the chain stores lies in their system of 
advertising and in their window displays which utilize 
a great quantity of show-cards and price tickets. 

There is no "secret" or "mystery" in learning to 
write show-cards or price tickets, and any one of aver- 
age intelligence who will study these lessons, will soon 
receive the reward. 

The round writing or lettering pens are very much 
like the ordinary stub pen points. They are made of 
hard but flexible steel, and with little care will last a 
long time. 

The best way to practice pen lettering is to use an 
ordinary composition book which has lines already 
drawn. Have the alphabet in front of you and try and 
make each line more perfect than the last one. It is in- 
teresting to save some of the first attempts, and by 
comparing them later with your work you will be sur- 
prised to see the progress you have made. 

Another way is to place a piece of paper (thin 
tracing paper) over the alphabet shown here and care- 
fully trace over each letter with a dry pen that cor- 
responds in size. 

76 



Be sure your fingers are well down on the pen 
holder, otherwise it will be impossible to get the neces- 
sary pressure. 

It is much easier to manipulate the pen than the 
brush for the reason that the brush "spreads" and 
makes the strokes uneven. The pen will not do this ex- 
cept under great pressure. 

Plate No. 2 shows by the direction of arrows 
which way the pen strokes should go. The hair lines 
with loops on each end show where to start with pen 
strokes and where to leave off. 

The heavy black "shaded" parts of the letters are 
the single strokes of a No. 12, Red Sable Brush. The 
open or unfinished parts were outlined to show the cor- 
rect formation of the whole letter. 

Now notice the different funny looking strokes on 
the bottom of plate No. 2. Those are the "foundation 
strokes" to practice on. These were done with a brush, 
so that they would show up larger when reproduced. 
They are the same strokes as those used to make the 
letters in the pen alphabet. 

Another very handsome alphabet which is par- 
ticularly adapted to pen lettering is the Old English. 

Here are several questions and answers on pen 
letters : 

Q. What is the show-card writer's round lettering 
pen point like? 

A. In size it is very much like a common steel 
stub pen point and will fit in an ordinary pen holder. 
It has a little round dent on top which acts as a well or 
reservoir to retain and feed ink to point of pen. 

Q. How does it differ from the stub pen? 

A. The extreme point of pen is cut on a slant 
requiring that you hold pen handle on an angle of 
about 45 degrees when writing. It makes the stroke 
the exact width of pen point and very little pressure is 
necessary to make a perfect stroke. 

Q. How many sizes are they made in? 

A. They are made in ten different sizes, 1, 1 J/2, 
2, 2!/ 2 , 3, 3J/ 2 , 4, 4!/ 2 , 5, and 6. 

Q. Is it necessary to purchase the half sizes? 

A. Not unless a great quantity of pen work is 
required. The sizes which are used the most are Nos. 
1, 2, 3, and 4 (two or three dozen in assorted sizes 

78 




L 



would be ample). No. 1 makes the widest stroke and 
No. 4 is small enough for a price ticket 1x1 Yi. 

Q. Is there any way to make the pens more flex- 
ible? 

A. Yes, the temper may be removed by hold- 
ing pen for a few seconds in the flame of a lighted 
match, then quickly dipping it in water. 

Q. If the heavy shaded lines are the exact width 
of pen stroke, how are the light hair lines of letters 
made? 

A. The heavy shaded lines are made by hold- 
ing pen handle at a slight angle having slanting point 
resting evenly on card. In this position draw pen to- 
ward you. 

The light or hair lines are made by holding pen 
handle straight upright and drawing pen sideways to- 
ward you or from left to right depending of course 
upon the stroke taken, without pressure. 

Q. How often is it necessary to dip pen in ink? 

A. The larger size pens will make from two to 
four letters, and the smaller size pens from six to eight 
letters with one dipping. 

Q. What is the best kind of ink for pen letter- 
ing? 

A. Most of the show-card colors are adapted 
for these pens. Of course, the ink must be thinner than 
for brush work. Never use anything but water in thin- 
ning ink. A little experience will soon tell you the 
proper consistency. If the ink is too thick or too thin, 
it will not work properly. 

Q. When the ink becomes dry and clogs the pen 
how is it removed? 

A. Either by holding the pen in the flame of a 
lighted match or by leaving it in a glass of water for a 
few minutes. 



80 




Fig. 53 
81 



CHAPTER XL 



Old English Stub Alphabet. 



If all the types and alphabets used in show-card 
writing, none can be compared with this modern "Old 
English Stub" for Christmas and holiday show-cards. 
The alphabet shown here was designed by the writer 
expressly for this purpose. Notwithstanding its being a 
mongrel extraction of the pure Old English alphabet, it 
is very effective and not one-half to difficult to execute 
as the original. 

From an ornamental standpoint, the Old English 
alphabet is one of the most beautiful types of letters, 
and this "stub" extraction has all the ear marks of the 
orthodox type without being one-half so difficult to ex- 
ecute. 

These "stub" letters should be done with a flat 
brush, one which has a square chisel edge. You can 
train any brush to work flat by dipping it full length in 
the ink and working it backward and forward or from 
left to right on a piece of glass paper or cardboard. 
Keep spreading it out by pressing on it as you work it 
back and forth. Before putting it away after use, clean 
it thoroughly in cold water, pressing the hairs out flat. 
The hairs will soon be trained to keep this position. 
Take care nothing touches the hair until dry, otherwise 
they will dry crooked. 

In copying the letters on the plate shown here, 
the beginner will find that a good many of the letters 
are almost alike, with the exception of one or two 
strokes; take the letters E, F and L; I and J; O and Q; 
or P and R. One extra stroke here or there alters the 
letter entirely. One advantage of this Old English 
alphabet is that the beginner does not have to stick to 

82 




5&« - wrs % 




, 









Fig. 54 

83 




Fig. 5 5 



jBeautiful ^Assortment 

flefoYear 
Cards. 



Fig. 5 6 

84 



Christmas 



Fig. 5 7 



"« (Sift <§>- 



Fig. 58 
85 



any set rule of formation. He may improvise and in 
cases improve the styles shown here. Of course, the 
lower case letters will be used much more than the 
capital letters, and they are much easier to execute. 

These capital letters look particularly well in con- 
junction with other styles of lower case letters, espe- 
cially so if done in brilliant colors. 

The old method was first to outline each letter 
and afterward fill in, but it stands to reason that that 
method required twice the time with no better effect. 

If you will notice the construction of the letter 
"O" at the top of plate, you will see how the brush 
strokes should go. First, in making the left stroke, be- 
gin at the top of line, holding the brush at a slight 
angle. Start with the tip end of brush and gradually 
widen out the stroke by pressure until the widest part 
of stroke is reached. Then gradually release the pres- 
sure and when the brush reaches the bottom line it 
should be only the tip end of the brush that is removed 
from surface. The right stroke of the letter is executed 
in a like manner. 

These show-cards are dark maroon mounted on 
white cards. The lettering is in white show-card ink. 
The gray border around edge of card is made of white 
with a very little touch of black. 



86 



CHAPTER XII. 



Flat Brush Script Alphabet. 

Slanting or Italic lettering is a good deal easier 
to learn than the block or the straight-up-and-down 
type. The reason given for this is that if one letter 
slants a trifle more than another it is not noticed, but 
that if one letter appears to be crooked on a card done 
in block or straight-up-and-down method, it spoils the 
appearance of the whole card. 

The lower case letters shown at the bottom of the 
accompanying plate are made in very much the same 
way as is longhand writing. The letters should be 
spaced close enough to touch each other and the sharp 
"spurs" at the bottom of each letter (excepting b, g, 
j, o, q, r, s and z) are made purposely in order to 
join them. 

This letter is best made with a flat chisel-edge 
brush or one which has been trained to make flat 
strokes. A round lettering brush may be trained to 
make flat single strokes by working it backward and 
forward on a piece of smooth cardboard each time 
after it has been dipped in the ink bottle. After several 
operations of this kind the brush will retain its flat 
chisel edge. 

The queer looking strokes shown in the center of 
the alphabet plate are the strokes necessary for the be- 
ginner to practice on, as they are all the strokes that 
are used in the formation of Italic script letters. It re- 
quires three strokes to form the capital letter "A," but 
it requires six strokes to finish off the bottom spurs of 
this letter. It requires three strokes to form the capital 
letter "H," but it requires twelve small strokes to finish 
off the bottom and top of it. When the term single 
stroke is used it is not the intention of the writer to 
convey the impression that any one letter is completely 
finished in one, two or three strokes, as the case may 

87 







Fig. 59 

88 



be, but that each letter is formed with the fewest pos- 
sible strokes. For instance, the letter "O" can be made 
with the single stroke method in two strokes, while a 
finished Roman "O," would require many strokes to 
build it up to a perfect letter. The single stroke letters 
are not supposed to be perfect. They are intended 
more for effect than for exactness in detail. 

We have said before, but we repeat again, that 
one of the first important rules governing show-card 
writing is the way the card is prepared and the lettering 
laid out. First, be careful to draw a marginal line 
around the card, leaving about one and one-half inches 
for the outer edge border (this should be done in lead 
pencil). Then proceed to draw a line upright through 
the centre of the card, this to act as a guide in spacing 
the words accurately. For instance, the word "Sta- 




(U3T\i t 



Uurl 



(above letters ty^tufJL - /s^S/^ce) \W, 



^JBSSBmS^ 



zAppFJist flq r^ 




resruna 



&g*o*CA*o J4*22* 



A Household Necessity 



PALCO 

Aluminum 

Hot 
Water 

Bottles 



Guaranteed 



Fig. 60 



89 



Fig. 61 



L. 



tionery" has ten letters. If this word is placed in the 
center of the card the center line would divide the 
word between "i" and "o." 

By using one style of lettering for all cards and 
signs the beginner will make much better progress. A 
common mistake made by most beginners is to use in 
their composition a medley of many different styles of 
lettering without first mastering one general type or 
style of alphabet. Do not put too much wording on 
your cards. The public will not stop to read a whole 
newspaper. The copy should be brief and to the point, 
like the show cards illustrating this article. Each of the 
accompanying cards was done on a white background 
in black lettering. They are one-half sheets, or 22x14 
inches. The headline or large feature words were done 
with a No. 1 2 red sable show-card brush. The remain- 
der of the lettering was done with the Nos. 1,2, and 3 
round writing stub lettering pens. 



STOP 

THMT 

CWGH! 



^" 




Altemtiw 
wUldott- 

Iti a Tonic also 



Fig. 62 




of delicious 
CrwmjjQnaMhj 



(Medaim 



& SatisfiM 




QA 



Fig. 63 



90 



CHAPTER XIII. 



Show Card Italic. 



The show window is one of the most valuable as- 
sets to the retailer. Price tickets and show-cards with 
descriptive reading matter are as necessary as the back- 
ground or setting of the window. 

A show card lettered by hand stands out and is 
much more effective than one which is printed from set 
up metal type. The foundry cast type has a stiff ap- 
pearance and does not attract as does hand work. 

We hear much about speed in show-card writing 
these days. Speed is all very well for those who are in 
the top class where one has reached the point of per- 
fect brush control, but the beginner should be patient 
and not in too much of a hurry until he has more con- 
trol of the brush. Very often, even with the best show- 
card writers, quality is sacrificed where speed is es- 
sential. 

The show-card ITALIC shown here in upper and 
lower case is about the easiest type to make for speedy 
lettering and looks very well on flyers and soda foun- 
tain specials. The two popular sizes in which to cut 
window flyers are 2|/2x20 inches and 2x15 inches. If 
these flyers are to be pasted on the outside of window 
they should be lettered in oil colors ground in japan, 
thinned with turpentine. White transparent rice paper 
generally is used for this purpose. 

The half-sheet featuring HOT DRINKS is lettered 
in italics. The word HOT was done in bright red, and 
the first letter of each item was also done in red ink. 
The shading and border were done in a light sea-foam 
gray tint. 

This show-card Italic is an improvement on the 
shipping-clerk's or box-marker's lettering, and can be 

91 



I 




^ 

k 



1 









Fig. 64 
92 



« 




§pwM 



Clam 
Seef 



.99 

9P 




Fig. 65 

best executed with a No. 1 or No. 1 2, red sable brush. 
Dip the brush in the color and work it backward and 
forward on a piece of paper. See that the brush re- 
tains this flat chisel edge all the time while lettering. As 
this is a slanting letter, the brush should be held in a 
like position, similar to a pen when writing backhand. 
Begin by practicing circles first, and then all the main 
practice strokes which are shown here at the bottom of 
the plate. It is better not to practice each letter sep- 
arately, as the majority of these letters are joined to 
one another. The beginner will make faster progress 
by practicing on the words he will want to use most 
like SPECIAL, LEMONADE, HOT CHOCOLATE, 
etc. 

These flyers are not supposed to be as finished a 
piece of work as show-cards. They are temporary 
signs for a day or so, slapped out at a moment's notice 
to advertise a new fountain special, and a majority of 
customers look for these little white flyers when they 
do not know just what to order. 

93 



The reason this type is by far the easiest to make 
is that the beginner does not have to practice any per- 
fect circles, squares, right angles, horizontals, or per- 
pendiculars. If one letter should happen to lean a trifle 
more to the right than another, it will not be noticed. 
Of course, the horizontal lines in which the lettering is 
to be done must be drawn accurately. 

We might as well say right now that there is 
really no set rule governing the strokes or lines in the 
formation of these italic letters or numerals. An extra 
fancy stroke or curlique may be added at will or left 
off entirely, like at the top of capital letters, A, M, 
N, etc. 

The beginner should pay attention to the arrows 
and direct his strokes according to the numbers. 

During the fall and winter months it is well to use 
bright colors in lettering flyers and soda special signs. 
For the benefit of those who do not know how to mix 
colors, this simple rule is given. 

Yellow and blue produce green; yellow and red, 
orange; red and blue, purple; yellow and black pro- 
duce olive; yellow, black and red produce brown; 
blue and red produce violet. 

In mixing colors it is well to bear in mind that one 
is apt to mix more than is needed before the exact 
shade desired is secured. Start by mixing a small quan- 
tity first. Any color may be brought to a lighter shade 
by adding a small quantity of white. 



96 



CHAPTER XIV. 



The Mongrel Roman Upper Case. 



This is the Mongrel Roman alphabet. The ques- 
tion is often asked, "Why is it called 'Mongrel' Ro- 
man?" — The answer is, because it is neither Roman or 
Egyptian Block, but a combination of these two ancient 
and beautiful alphabets. The simple Thick-and-Thin 
strokes used in constructing this alphabet makes it not 
only an easy one to learn but also to read. The first 
installment of these Capital letters, "A to O" shows 
the key strokes in heavy and shaded effect. 

In copying the fifteen letters shown herewith the 
beginner is required to learn but six strokes which are 
different in formation — all the other strokes are merely 
a repetition of others. The beginner should study the 
different key strokes at the bottom of alphabet and 
concentrate his practice on them. 

It is a mistake to try and copy any of these show- 
cards without first drawing the necessary guide lines in 
which to draw the letters. All lower-case letters, should 
be at least % the height of the capital letters and 
should extend an equal distance above and below the 
body guide line. 

In copying the letter "a," the first stroke taken is 
a slanting stroke at the left, then the slanting stroke at 
the right. Stroke three joining the right and left slant- 
ing strokes should be made from left to right at about 
the center of the letter. The beginner should notice 
in what direction the arrows point and follow each 
stroke in rotation. The thickness of the left stroke of 
the letter "A" governs all the width of the thin strokes 
while the thick strokes of the same letter govern all the 
thick strokes of the entire alphabet. (This is why this 
Mongrel alphabet is sometimes called "THICK-AND- 
THIN"). You may not notice it but very^seldom are 

97 




these thick-and-thin strokes of the same width respec- 
tively. This is one of the big features of this alphabet. 
There is no plainer, more easily read or more quickly 
learned alphabet known to the professional show-card 



It (5ristmas 

f Candy 

Specially Priced 



Fig. 70 

99 




c^N 




I 






LU 





Is 




ffi 









V ^ 



x\ 






</> 



m 





Fig. 71 
100 











^lo prevent 
Winter Ills — 






•^lake a 






Winter 






Tonic 






Triners 
BitterWine 

Will keep you well 











Fig. 72 



writer and it is generally used where speed and legibil- 
ity is essential. For emphasis we repeat that it offers 
one an unusual amount of liberties and as long as it is 
a mongrel type who can say whether it is true to any 
set form or rule. 

In learning show-card writing those who hesitate 
are lost. It is a difficult proposition to make headway 
with a series of short stubby little strokes — go at it 
boldly — try not to stop when in the middle of a hor- 
izontal or upright stroke. If you break a stroke and 
attempt to pick it up again, you will find it is much 
more difficult to keep it plumb. Practice alone will 
overcome irregular or crooked lines. 

When practicing do not attempt to make large let- 
ters first. The beginner will make much better progress 
and speed on letters, say — from 2 to 4 inches in height. 
Letters of this size will permit the resting of the hand 
on the card while making all strokes. Hold the brush 
as you would a pencil or pen — between the first two 
fingers and the thumb, fingers well down on the brush 
handle. In this position the hand will be on a level 
with the arm. The tip or first joint of the little finger 
and the wrist bone should rest on the card or surface. 



101 



CHAPTER XV. 



The Mongrel Roman "Lower Case." 



All capital letters are technically termed "upper 
case," and the smaller, or common reading type are 
termed "lower case." These "lower case" letters are 
made more rapidly than the capital letters on account 
of the fewer strokes required to construct them, the 
general rule of dimension being three-fourths the 
height and width of the corresponding capital letter. 

There are two methods of forming these letters: 
One, to first sketch them out roughly in pencil, and 
then carefully retrace over the pencil lines with a num- 
ber four or six brush, after which fill in the skeleton 
letter with a larger size brush. 

The other method, and by far the quickest, is to 
select a Red Sable brush which will make the thin 
stroke the exact width you wish, and as the thicker 
stroke is just double the width of the thin stroke, it is 
an easy matter to keep the proportions uniform. 

This type is particularly popular for large window 
display cards from 11x14 inches upwards, also for 
cards featuring hot luncheon specials and menus. It 
being so easily read, it is also a favorite for soda foun- 
tain flyers. 

A good color combination for full show-cards in 
the retail store may be had by using a light tan or yel- 
low-buff card with dark brown lettering. The letters 
may be shaded and a border worked around edge of 
card with a color about two shades deeper than the 
color of the card itself. 

The plainer the lettering, the greater the results. 
The beginner should strive to emulate these letters as 
nearly true to these lines as possible and avoid any 
condition of fancy scrolls. 

102 




Fig. 73 

103 



High Grade 

LINEN 

Stationery 

65* 



Fig. 74 



Soda Fountain Flyers - size 2 I /z iN - x 15, \&, «• is 1 



ic\\CS 



Hot Chocolate 




gkmuiiilllkoTiTTr 



mm 



oil Ma; 



g 



ffiSOMMl 



v O) CO) 



Hot Beef 1 



Fig. 75 

104 



P&m 




cake 



Fig. 76 

In laying out or sketching lower-case letters the 
beginner should first draw four horizontal guide lines 
to insure a uniform height for all the lower-case letters 
which extend either above or below the main body 
guide line. The following nine letters extend above the 
guide line to the top guide line: b, d, f, h, i, j, k, 1, 
and t. The five letters which touch the fourth or bot- 
tom guide line are: g, j, p, q, and y. The remaining 
thirteen letters: a, c, e, m, n, o, r, s, u, v, w, x, and z 
are constructed well within the main body guide line. 

If the reader will study the lower-case letters "a" 
to "m," shown herewith, he will notice by following 
the direction of the arrow points, just how each letter 
is constructed. This method of outlining and filling in 
is the same as shown in chapters VI, VII, VIII, and IX, 
illustrating the full Roman, and it is the best method 
for a beginner to learn the proper proportion of each 
letter. The letter "1" shows a finished letter with the 
center filled in solidly with black. 

105 



The letters "a" and "f" show the easiest way for 
the beginner to learn brush control; the open spaces 
or where the lines are broken show just where the 
brush was removed from surface. It requires twelve 
single strokes to complete the outline of each letter. 
These short strokes or "breaks" will not be necessary 
when the beginner becomes more proficient, through 
practice. He will soon be able to start at the top guide 
line and continue to the bottom guide line without a 
break. This also applies to the circle of sweeping 
strokes. Make all strokes from left to right. 

To further demonstrate the simplicity of this Mon- 
grel Roman alphabet the reader is asked to observe the 
similarity of some of these lower case letters. For in- 
stance, the "c" forms the basic part of the letter "e." 
The "h" and the first part of the letter "m," the "i" 
and the "J," while the letter "b" reversed is the let- 
ter "d.' 



106 



CHAPTER XVI. 



The Mongrel Roman "Lower Case" N to Z. 



The letters "n to z," conclude the series of the 
lower-case Mongrel Roman alphabet, showing the out- 
lining and filling-in process. 

In learning show-card writing, too much cannot 
be said of the excellent results derived from the old- 
fashioned method of teaching penmanship. Practically 
the same results will occur in free-hand lettering, if the 
beginner practices the exercises shown on the bottom 
of alphabet plate. These characters are designed tc 
bring about a certain rhythmical movement of the fore- 
arm and fingers. There is a certain "swing" which 
every beginner must first acquire in order to do grace- 
ful lettering. This "Swing" teaches brush control bet- 
ter than any other method. Take the first exercise at 
the bottom line^— a series of ovals inside the letter "o." 
The fingers should be well down on the handle of the 
brush, and no part of the hand or arm should rest upon 
the card. Even the most skeptical person must admit 
that these letters are simple in construction and very 
similar in design. For instance, the letter "n" is almost 
one-half of the letter "m." The letter "i" is trans- 
formed to an "r" by a stroke the same as at the top of 
the letter "s." In making the letter "s" the readers' 
attention is again called to the bottom line of exercises. 
Here the top, bottom and center part of the letter "s," 
is plainly shown separately. The next letter "u" is 
nothing short of the letter "n" up-side down. The 
letter "v" is one-half of the letter "w." The "x" is 
constructed on the order of the letter "y." The letters 
"p" and "q" are identical, only reversed. Two de- 
signs of the lower-ease letter "z" are shown, either one 
being correct. 

107 



o 




CORRECT LAY-OUT 




A simple way to obtain a uniform thickness in 
drawing the outline of these letters is to cut two pieces 
of cardboard, one the width of the thick stroke, the 
other the width of the thin stroke. Use these for ruling 
out the skeleton formation of all the upright or square 
letters. Another piece of cardboard cut out on the 

INCORRECT LAY-OUT 

Home Made 

Chocolate 

Fudge 



60 1 



Fig. 79 
109 




£ 



•3 





W) 




o 





CO 





Fig. 81 

shape of the loop of the letter "p will answer for rul- 
ing out all the circular letters. 

The arrangement, general layout, and balance of 
lettering on a show-card has everything to do with its 
appearance and the results it will bring, for unlike the 
printers' set rule of composition, the arrangement and 
spacing of hand lettering is not hampered by uniform- 
ity of certain letter widths; therefore, within certain 
limits, the composition of hand lettering can be more 
artistically and effectively arranged. One thing the be- 
ginner must remember is — no matter how much he 
may try to copy any alphabet, line for line, each letter 
will bear the earmarks of his own individuality and still 
his work may be true to copy. Every experienced 
show-card writer can tell the work of another at a 
glance, without looking for the accustomed imprint at 
the bottom of the card. All beginners should take en- 
couragement from this and not set too high a standard 
for their first attempts. 

Ill 




fe$$L idgai 'J 
lime to 

LPiliit i 



$» 'Mm&y Mixed 

! PAINT 

Here 



Fig. 82 

Nothing is more important in learning show-card 
writing than the preparing of the card and the laying 
out of the lettering. As much time should be consurned 
in designing this layout as in the actual lettering itself. 

The question of margin or border around the 
edge of card is an all-important one, and has every- 
thing to do with the appearance and general effect pro- 
duced. The size of the captions should depend alto- 
gether on the space available. There is no better way 
to see this mistake than by the two specimens of lay- 
out reproduced here by contrast. One is very poorly 
spaced and badly layed-out and the other is a well- 
balanced, attractive, business-pulling show card. 

Most everyone, after some practice, is able to 
make an "a" look like an "a" or a legible looking "s," 
but the spacing of letters and between words requires 
practice, until the eye becomes accustomed to judging 
distances at a glance. 

There is no set rule for spacing, on account of 

112 



Thanksgiving 
Novelties 



i 



Fig. 83 

the varying widths of so many different kinds of letter- 
ing. 

In spacing between words on a typewriter you will 
notice that just the width of a single letter is the correct 
space allotted. But the space between letters is not ex- 
actly symmetrical. 

For instance, in a word where two lower-case 
"m's" come together, they will almost touch each 
other. The reason for this is that the base or shank 
upon which the letters are fastened on a typewriter 
are all the same width, and wide letters must be con- 
densed so they do not occupy any more space than 
any of the others. 

The lower-case letters which should occupy the 
same space have been classified as follows, beginning 
with the narrowest letters first: (i, j, 1, f, and t), (a, c, 
e, m, o, r, s, and u), (b, d, g, h, k, p, q, and z), (m, 
v, w, x, and y). 

The beginner should practice these letters, begin- 
ning by taking each group separately until his eye be- 
comes accustomed to the width of each letter in the 
four different groups. 

As already stated, it is a mistake to try and fea- 
ture in large type, too many words, especially where 
there is any quantity of reading matter. With the ex- 
ception of a general "NOTICE" or heading, the lower- 
case letters present the best appearance and are more 
easily read and executed. Then again, the public is 
more accustomed to reading the lower-case type in 
newspapers and periodicals. Film titles in the movies 
are written almost exclusively in the lower-case. 

113 



CHAPTER XVII. 



The Mongrel Roinan Numerals. 



One of the best ways to sell merchandise is to 
display it, but displaying it is not enough, for some 
people will not ask the price of an article unless they 
intend to purchase it. And frequently they fail to buy 
for the simple reason that they assume that the price is 
too high, there being nothing to convince them to the 
contrary. Many an artistically trimmed window has 
failed to pull the business and bring the results it should 
simply because the merchandise was not price tagged. 

Take, on the other hand, a window display of 
fancy boxed stationery, twenty-four sheets, twenty-four 
envelopes, plainly marked at sixty-nine cents a box. 
The customer comes into the store and in many cases 
mentions the price first. 

"Will you please give me one of those sixty-nine 
cent boxes of stationery you have in your window?" 

In that case the show-card was responsible for 
fifty per cent of the sale. 

In many instances, if there is no one in the store 
who can write show-cards and price tickets, windows 
must be trimmed without them, as the windows cannot 
be held until the local show-card man (who is always 
busy) finds time to help out. 

It is therefore, essential that at least one person 
in each store should know how to make good price 
cards. 

A show card which is warped or bent, presents a 
very bad appearance in the window, and warp it surely 
will unless it is of heavy stock, twelve ply board or 
more. The heavy ply board is not always obtainable in 
the smaller towns, while the four and six ply cardboard 
can be purchased even in the smallest towns. 

1!4 




Si#st 
for th< 



ion 

e 






ItMLEI 
SE1 



<^~3he ideal ^ 



Fig. 85 

Here is a scheme to overcome warping of the 
thinner cardboard. It requires but very little effort and 
will give a pleasing effect and prove most satisfactory 
and economical. The popular size cards for window 
display are 14x22 (one-half sheet) and 11x14 (one- 
quarter sheet). Smaller sizes than these are not so apt 
to curl up, and therefore need not be worried over. 

For the larger cards, make a light frame the same 
size as the card. Any light material will do, as it is to 
be entirely covered. Have one support placed in the 
centre to keep the frame from becoming lopsided. A 
stick may be attached to this centre support with a lit- 
tle brass hinge, to hold the frame upright in the win- 
dow. 

After your show-card is finished tack it on the 
face of the frame, using small upholster' s tacks (or else 
glue it on). Then run a strip of passe-partout binding 
around the edges of the frame, lapping it over about 
one-half to one inch on the face of card. If the passe- 
partout binding is hard to obtain, cut strips of wall- 
paper two inches wide. Use this in place of the regular 

116 



Have you tried 

ikUBL 







The Children like to take it . 



Fig. 86 

binding. These frames can be used many times and 
are well worth the bother and trouble to make. 

Another way of preventing cards from becoming 
unsightly is to have a board, the exact size of the card, 
out of seven-eights or one-half inch stuff. Have a car- 
penter bevel the edges, then shellac them, after which 
give bevel two coats of gold paint, applying same with 
soft hair brush. It is surprising how this gold bevel 
will set off your card in the window. The card may be 
fastened to board either with brass thumb tacks or a 
little dab of glue in each corner. 

In this chapter we have taken for our special let- 
tering subject the ten modern numerals of the Mongrel 
Roman, or, as generally known, the * 'THICK and 
THIN" type for price tickets and window cards. 

These figures are the easiest of all to learn, be- 
cause they do not need to be accurate or fancy like the 
Full Roman or the Egyptian numbers, there being no 
round balls or sharp "spurs" to make. But when these 
figures are shaded with a light gray or blue color they 
are as handsome as any. 

117 




Sbfway 

2f Sheets 2f E nvelopes 




Fig. 87 

Notice the lettering on the stationery carcl. It is 
done in the same style as the numerals. The lettering 
\yas done in black and the price is red. In copying 
these numerals, don't try to make 1, 2, 3, 4, 5, 6, 7, 
8, 9, over and over again. It is better to make, say 25, 
49, 68, 29, and 13. By this method you will learn to 
space better and practicing will not be so tedious. 

Always follow the way the arrows go and note the 
numbers which tell you in what rotation the different 
strokes should be taken. 

Hold your brush on a slight angle the same as you 
would a pencil. In making the downward strokes, stop, 
by picking up brush, within one-quarter of an inch of 
the bottom line. Then finish off the stroke on the bot- 
tom line by turning your brush to one side. This is 
done by turning handle between the thumb and index 
finger. Never turn the hand or arm in making the hor- 
izontal or curved strokes. It is all done by these two 
fingers. 

In making zero do not try to do it in one stroke, 
but in two half circles joined together, first making the 

I 18 



left stroke, and then the right. A good way to practice 
this figure is to draw out several circles with a compass, 
then trace over these lines with the brush until you 
train your eye and hand. These circular strokes are 
very important. 

Notice the figure FIVE and study the number of 
short strokes taken to complete it. The several open 
spaces or "breaks" indicate just where the brush was 
"picked-up" and then continued again. After these 
numbers are outlined with a number eight or ten brush 
it is an easy matter to fill them in with a larger brush. 

All these short strokes are necessary for the be- 
ginner until he has become proficient enough through 
practice to make the entire sweep of all circular letters 
without removing the brush from the letter. 

A good scheme would be for the beginner to 
work on this set of numerals until he is successful in 
making them good enough to cut out. Make them on 
a piece of heavy cardboard and use the point of a 
sharp knife in cutting them out. Make them about five 
inches in height and three and one-half in width. Use 
each one as a pattern to practice with. 

The shading of letters with a light gray, green or 
blue, tint adds greatly to the attractive appearance of 
the card. Care should be taken not to get the shading 
tints too dark. 



119 



CHAPTER XVIII. 



The Use of Pictures on Show-Cards. 



Have you ever studied the show-cards in the street 
cars and admired the many artistic designs in lettering 
and pictorial work? Street and subway car advertising 
brings in mighty good returns in dollars and cents, and 
consequently great care and thought is put into its 
make up. Now, have you ever stopped to think that 
these cards are the product of actual hand work? 

In truth, the original is first lettered on stone, or 
it is photographed, and an electrotype is then cast in 
metal composition. 

You will observe that almost every display card 

in a street car has on it a drawing or a pretty picture of 
some kind. 

The same idea may be carried out in store show- 
cards. This does not mean that you have to become an 
artist and produce master pieces. But since advertise- 
ments are so frequently illustrated both handsomely 
and effectively, it is by no means difficult to find a 
suitable illustration for almost any kind of display 
card. Some pains must be taken, however, to select 
pictures that will convey the impression that they were 
designed purposely to exploit the merchandise adver- 
tised on the show-card in question. 

The pictures which appear on the display cards 
here reproduced were all cut out of THE NATIONAL 
DRUG CLERK and pasted on the cards. 

Too much reading matter will surely spoil a card. 
Write out what you have to say on a piece of paper. 
Then boil it down. And then boil it down some more. 

An attractive picture frequently tells the story 
much better than a whole lot of wording, and you can 
paste a picture on a card much quicker than you can 
do lettering. 

120 








©IS 

Hi^h Grade 



Dependable - 
-Delicious and 
--<*^n Dainty. 




Fig. 88 



^w«ia,: 



Just arrived-Fresh stock 




_ Milwaukee 

Chocolates 




JeAredwHk 
flcfure prisfed on 






Fig. 89 
121 




Hoi Drinks 

S pecial To-day 

Hot Chocolate 
HotMaltedMilk 
Hoi Clam Bouillon 



1 *Y 



Fig. 90 

Your attention is called to the show-card, "Hot 
Drinks 1 5 cts." It took just twenty minutes to letter 
this card. The letters are just the same as those shown 
in the plates, but they are not so perfect in detail. 
Technically speaking, this show-card was "slapped" 
out to illustrate what can be done in a hurry with the 
modern Roman type and still have it effective. 

The gray shading and the border around the card 
add greatly to its attractiveness and certainly make the 
lettering stand out. White mixed with a little touch of 
black makes gray. If a little gray border is worked 
around the picture after it is pasted on the card, it will 
give the appearance of being hand drawn. 

Now notice how plain the prescription display 
card would be without the black and white picture 
pasted at the top. All these pictures were cut out of 
THE NATIONAL DRUG CLERK. 

Notice the word "compounded." The plain, un- 

122 



• 



-*~n 




Prescriptions 

'Accurately 

By our 

Registered 
PI 



Fie. 91 




/st- /u*//vr/ &gt/f>///2// '— 
<">/■ /£ s/teet ur/uXe ears/ 

f£e&trr fkzs&d o/e card. 






For Refreshing 
Fragrance We 
Recommend 




- 



Face Powder 



Fig. 92 

123 



finished single stroke brush marks are shown between 
the two horizontal lmes. Note the words "by our" and 
"pharmacist." Light pen strokes are used to show what 
would have been finished by the tip end of the brush. 

The "Weber" card shows a pleasing combination 
of brush and pen lettering. The words, "Dependable," 
"Delicious," and "Dainty" were done with a No. 3 
Soennecken lettering pen. 

An attractive show-card placed on the show-case, 
will make the goods move. 

Cut an attractive picture from some advertise- 
ment and paste it neatly on a card like the ones in this 
article. Select a picture which has some relation to the 
merchandise you wish to advertise. These fancy illus- 
trations make the card doubly attractive and help to 
offset any irregularity in the lettering. The Java Face 
Powder card and the Johnston's chocolates card were 
lettered in Egyptian Type. 

The illustrated show-card is in great demand to- 
day and all progressive show-card writers keep a scrap 
book handy and whenever they see a "likely picture" 
they cut it out and preserve it for future need. Try and 
cut out each picture in silhouette and when pasted on 
card it will have the appearance of being painted or 
drawn there by hand. 



124 



CHAPTER XIX. 



Single Stroke Poster Lettering. 



Of all the styles of Poster lettering designed for 
show-card writing none will be found so easy to learn 
as the alphabet shown here, because there is no definite 
rule laid down for the formation of each letter. You 
may either condense, or extend your letters as your 
space on the show-card permits. Notice the word 
"Prescription." This will give you some idea of how 
the letters may differ according to the space they oc- 
cupy. The letter "S," for instance, may be skinny and 
condensed, or be extended to double widths like the 
letters a, b, c, d, e, g, h, k, m, n, o, p, r, u, w, and y. 
There is a great demand for this style of lettering to- 
day. It is full of twentieth century "pep." Hundreds 
of show-card writers use this type in preference to all 
others, and beginners take to it on account of the short 
time in which it can be learned. 

Of course, it is not a finished letter like any of the 
conventional types, such as the Full Roman, Egyptian 
Block, Gothic, or Old English. It was originally created 
for poster lettering, theatrical show-cards, and moving 
picture titles, etc. 

Single stroke Poster lettering looks its best when 
done in high colors on tinted or rippled mat boards. 
This mat board was originally made for the picture 
framing trade, but some enterprising show-card man 
saw the possibilities of it for show-cards and it soon 
became popular not only with the theatrical folks but 
with the retail merchants in general. Ever since then, 
the manufacturers of mat board have been meeting 
the ever increasing demand for new colors and tints. 

125 






Drin^ 

fres'eriplion^ ™-'' 

Prescriptions 

accurately J / 

Smpounaed 





Fig. 94 

Most of the show-card supply houses carry mat 
board. It is made up in sizes 30x40 inches, and is 
much thicker in ply than the ordinary calendar 22x28 
cardboard. It has a smooth or ripple finish and sells at 
from twenty to thirty cents a sheet. It is really more 
economical to buy than the plain white cardboard at 
ten cents a sheet, as on account of its much larger size 
and thicker ply it stands up much better under hand- 
ling than the ordinary cardboard and will not show 
every little finger mark or fly speck. It does not wrap 
or curl up. For this reason it is very popular for win- 
dow cards in the summer time. 

There is a light buff color in this mat board stock 
which makes ideal candy signs. Cut it into cards, say 
2x5 inches, landscape and letter them in dark brown 
ink. This color combination will be found very satis- 
factory for the interior show-cards as well as for the 
window cards. 

After used, all brushes should be cleaned in cold 
water and laid away to dry in this flat shape! The only 
use a show-card writer has for a round pointed brush 
is for outlining letters to be filled in. All other letter- 
ing is done with a flat pointed brush. 

127 




t-H =^= 



ii ii 

Fig. 95 
US 



_ 



:;,-;.•; 



i 




Fig. 96 



In considering the letters of the lower case of 
this Poster alphabet, we will begin with the letter "a." 
(It is best to draw the horizontal lines for practicing 
in lead pencil about one inch apart and allowing the 
same for space between.) 




Sj>7 1 Ueliciou^ 

[-..-a ; 

rvinpton 

( jkoeolaxe^ 

Assorted Fi'uitWntp- 



Fig. 97 
129 



Keep the alphabet before you, but don't make a 
whole lot of "a's," "b's" and "c's." Practice the let- 
ters by writing out words. It will not be so monoton- 
ous, and you will get a much better idea of spacing. 

The top part of the letter "a" of the lower case 
Poster composes three-quarters of the whole letter, the 
lower part being a very small loop. The top parts of 
the letters b, d, f, h, k, 1, t, reach to an extreme 
height above the other letters, their height depending 
largely upon the ideas of the show-card writer. That 
is the advantage this Poster type gives the beginner. 
There is lots of room for originality. Almost anything 
goes so long as the letters retain the Poster lines. 

All round letters should appear much wider than 
the square or straight up-and-down letters. The round 
letters are c, e, g, o, q, and s. When the letter "g" 
appears at the end of a word, it will look well to en- 
large the lower part of the letter to three or four times 
the size of the upper part. 

The "s" is sometimes made to appear almost gro- 
tesque in Poster lettering. Sometimes it looks top- 
heavy and at other times the other way around. 

The best way to practice this alphabet is to go 
at it boldly, making the strokes with a free wrist move- 
ment, making six circles, six crescents, and six ovals. 
These are the principal strokes in making all the cir- 
cular letters. 

To avoid getting writer's cramp, remember to 
hold the brush and pen in a loose position between the 
thumb and first finger. This is a matter of habit, and 
should be looked into at the start. 




130 



CHAPTER XX. 



The Speed Lettering Pen. 



Of all the new inventions for show-card lettering, 
none can surpass the SPEED PEN, which has come as 
a boon to facilitate lettering by hand. It is by far the 
most practical, simple, and useful lettering tool on the 
market. 

That the lettering on the show-cards illustrating 
this article was done with a pen is, to the layman, al- 
most incredible. Some of the new inventions sound 
very well in print, but when put to the test are an abso- 
lute failure. But here you have visible proof of what 
has actually been accomplished with the speed pen. 

The round writing pens and engrossing pens with 
the slanting points are intended for small lettering, as 
on price tags and on large show-cards where much 
reading matter is required. These pens are not equip- 
ped with a reservoir and require frequent dipping in 
the ink bottle. No one ever thinks of making large 
letters with these small engrossing pens. 

The speed pen, on the other hand, makes large 
letters both neatly and easily. It is made of best 
quality flexible steel, requires no "breaking in," and 
will neither spread like a brush nor make irregular or 
ragged lines. Furthermore, it will not break under 
heavy pressure. 

The speed pen comes six in a box in all sizes 
ranging through numbers 1, 2, 3, 5, 6, and 7. The 
sizes 1 to 5 are made for all round or Roman letters, 
and Nos. 6 and 7 are for square or block letters. Nos. 
5 and 7 will make letters up to three inches, in height. 

In general appearance the speed pen, is like the 
ordinary steel pen, with these differences. 

( 1 ) Instead of the usual points, the nibs con- 
sist of two hemispherical, flat surfaces, with a fine split 

131 




<c' 



JL. 



CD 






>< 







O 



I 




m 





^XX) 



o o- 
X 



f * I 




CO 

CD 



<D 



O 



00 



</} 



£2 03 



_ 



Fig. 98 

132 



42 



5v 



;> (400a 

J lent / 1 



C-Bflipfire 
Marshmallowsl 




© I 



Fig. 99 

between them. Together they form a perfect circle, so 
that whenever the pen is placed on the paper it pro- 
duces a solid circle of ink or color, and if it be drawn 
along it makes a solid, uniform line with those per- 
fectly rounded terminals so difficult to obtain with 
other lettering pens or drawing instruments. 

(2) A reservoir is attached to each pen which 
holds sufficient ink to make several letters and renders 
frequent dipping in the ink bottle unnecessary. 

Ordinary pen holders may be used for any of the 
sizes in which these pens are made. The No. 1 speed 
pen is the general favorite for all small lettering; No. 
2 makes a medium stroke; No. 3 a rather broad stroke; 
and No. 5 a very broad stroke. The rectangular point 
No. 6 makes a broad stroke, and No. 7 a very broad 
one. 

These six different styles give practically every 
desired effect, and with a little study can be utilized to 
produce the most satisfactory results. 

For all lettering up to three inches in height, the 
speed pen has an advantage over the brush in that it 

133 




wm 



Powder 
~*€jfi?) so soft 



and 
silken, 
with 
delicate 
j lasting 
Ya£rance 




Fig. 100 

will do the same amount of work in one-half the time 
and produce an equally striking effect. 

One of the most important things to remember is 
to keep the bill of the pen flat on the paper and to use 
a free arm motion, keeping the thumb and first two 
fingers well down on the pen handle. 

Always draw the pen down or from left to right. 
Never push it. 

A little difficulty may be experienced at first in 
getting the ink to flow freely from the reservoir. The 
ink must be not too thick, nor too thin. If the beginner 
remembers this and does not blame the pen, he will 
soon find out just what consistency the ink should be. 

India ink,' which may be purchased in most sta- 
tionery stores, works very well in these pens and re- 
quires no thinning. 

The pen should be dipped deeply enough to fill 
the reservoir. Rest the underside of the nib on the 
neck of the bottle to drain off surplus ink. This will 
prevent any blots or drips on your work. 

Of course the speed pen has its limitations. It will 

134 



■■;■ : a^vf ■; , 



Mennens 
Talcum 

Powder 




101 



not do very large single stroke letters, nor will it make 
each letter as perfect in detail as a red sable lettering 
brush, but for hurry-up work there is nothing to equal 
it. The No 7 pen will make letters large enough for a 
full sheet card 22x28 inches. 

All new pens are dipped in a chemical prepara- 
tion which preserves them against rust. To remove 
this lacquer hold the pen in the flame of a lighted 
match for a few seconds. The ink will then flow more 
freely. This will also remove some of the temper from 
the pen and make it work better. 

The larger letters will present a much more fin- 
ished appearance if shaded with light grey, blue or 
green tint, as shown in the illustration. 

These pens will do round, oval, square, slanting, 
old English and backhand letters. All this may be 
done with six different sizes. 

Constant practice with these pens will enable the 
beginner to do better brush work. If letters are re- 
quired larger than three inches high, they may be out- 

135 



lined with the pen and afterward filled in with the 
brush. 

Numerals are more easily made with the pen than 
the brush, as any brush will naturally spread under 
pressure and will, therefore, require several single 
strokes to complete each numeral. The round pointed 
speed pen will make any numeral with one continu- 
ous stroke, with one dipping, and without removing 
the pen from the paper. 

There is practically no end to the fancy scrolls, 
borders and ornaments that can be made with the 
round speed pen. It is only a matter of copying what 
you see and like in magazines and in newspaper ad- 
vertisements. 

Care should be taken to keep the speed pens 
away from dust and dampness. 



136 



« 



CHAPTER XXI. 



Detailed Study of the Speed Pen. 



The importance of the Speed Pen in Modern Show 
card Writing cannot be overestimated. Its simplicity, its 
rapidity make it the most economical method for the 
retailer or clerk. In order to give this extremely import- 
ant method of lettering the time and work it deserves 
we are devoting the next four chapters to a detailed 
study of the Speed Pen. 

There are two classes of beginners in show card 
writing. In the first class are those who start at the be- 
ginning and intend to devote their entire time in learning 
all branches of the profession, having chosen this branch 
of commercial art as a vocation. To this class every- 
thing pertaining to lettering is of interest. 

The second class is composed of those who in- 
tend following other lines of business but are greatly 
interested in show card writing as a side line. They 
realize the importance of show cards as a necessary 
business aid. 

To this second class these articles on the great 
American invention The Speed Pen are dedicated. 
It is not necessary for students in this class to learn 
every branch of show card writing. The plain simple 
legible show card is really the best business builder. 
And the writer can absolutely guarantee any ambi- 
tious, seriously minded student success if he will follow 
closely these instructions and spend fifteen to twenty 
minutes a day in practicing. 

137 






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eeeep 1 



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hi - 



r 



OfQtO 







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= ^S co c oa 




<N CM 



Davol 

HotWater 

Bottles 

The Davol stamp 
. on Rubber Goods 
Guarantees the 
highest standard 
of Perfection — 



Fig. 103 

Competition as we all know is the life of trade 
and it surely will be keener as business revives. 

The question is, how many salesmen are going to 
take advantage of this unusual opportunity offered in 
this course. The plates or drawing illustrating this 
article are not just pictures of aphabets accom- 
panied with a dry incomprehensible and technical 
bunch of text matter. 

These lessons are positively fool-proof and have 
been the means of increasing the fatness of many 
a pay envelope, which also means increased business 
through talking show cards. 

In these articles the beginner is given the bene- 
fit of the writer's twenty-five years experience with- 
out forcing him to go through any mill. Most of this 
knowledge has been gained through personal experi- 
ence and direct contact with all branches of the sign 
and show card business. 

Of the many makes of Speed pens the writer has 
had the best success with the "Esterbrook Speed 
Pen" and the "Gordon & George Speed Ball Pens/ 7 



139 



There are 

Seven 

sizes 



v& 



Some have 
Round bills - 

Some 
Sq uare - 



ere there is a 
lot of reading matter 
which must be 
condensed— The small 
Size Speed Pens 
will save time — 

ty/ia/ may be turned upside doa>n Jbr/i'nr /cltrruf^^ 



Fig. 104 



Armours 
Hot Drink 
Specials - 

Hot Chocolate 
Tomato Bouillon 
Extract of Beef _ 

Served with 
Saltines , 



We have your 
favorite 

-.CANOFt 



Our large volume 
of Candy sales 
means fresh stock 
always on hand- 
Candy "by the box 
Specially Priced. 



f 



Fig. 105 



• 



Fig. 106 



140 






Almost anybody can operate these pens, They 
will not spread under pressure, they will not break 
or even bend, and best of all they will not blot or 
scratch on smooth or rough surfaces. 

The show windows are the retailer's most valu- 
able advertising asset and their orderly and business- 
like appearance have a great deal to do with the suc- 
cess of the store. The store's policy, it's personality and 
progressiveness are reflected through the plate glass. 

The judicious use of show cards are just as im- 
portant as any part of the display and it is a useless 
overhead expense to spend good dollars for show 
cards when at least one man in every store has the 
ability to produce them. The fellow who works over 
time and all the time is the fellow who gets ahead 
today. 

Originality is what counts in window trimming 
too many wait for the other fellow to set the pace. 

All the lettering on the show cards illustrating 
this article was done with the four different size 
Speed Pens, Nos. 1, 2, 3, and 4. The alphabet is 
known as Single stroke Half Block. Each stroke being 
of equal thickness. This does away with thick-and-thin 
strokes and the time required to fill-in the center of the 
letters. 

The speed pen is the best little tool for practic- 
ing lettering (Higgins waterproof drawing ink, Car- 
ters show card ink, or Bissels jet black ink, all work 
well in the speed pen). 

Very often the card writer is called upon to tell 
a long story in a short space such as demonstration 
cards. Here is where the speed pen becomes most 
valuable. The largest size speed pen will draught a 
letter up to three inches in height. The smallest size, 
No. 1, Speed pen will make letters as small as }i of 
an inch. These speed pens require no breaking-in, 
just slip them in an ordinary pen holder they are 
much easier to manipulate than any other kind of a 
lettering pen or brush. There is a reservoir attached 
to each pen point which retains enough ink at one dip- 

141 



Dont 
Take 

Chances ■! 
Take t 

Bayers 
Aspirin 

For that cold in the head. 



Fig. 107 

ping to write a number of words. This makes fre- 
quent dipping in the ink bottle unnecessary and saves 
a lot of time. 

The following ten rules will help the beginner to 
master the speed pen. These rules — easily remem- 
bered and easily applied, will produce good results, 
even in cases where a novice has no ability for draw- 
ing. 

1. — Use any ink, (preferably India). All water 
color inks should be thinned with water until the ink 
will flow freely through the reservoir attached to pen 
point. (A little experimenting will soon teach you 
just how many drops of water should be added). 

2 — These pens will work well on almost any kind 
of surface, but the best results are to be had by using 
white coated cardboard. 

3. — Be sure to make a rough sketch or layout of 
lettering in pencil before starting to letter with the 
pen. 

142 



cJoin our 
Circulating 

Library - 

^yfad read the 
latest 

Books 

Ask aboul our ■ 
Club Plan 



Fif. 108 

4. — Dip the pen each time deep enough in the 
bottle to fill the small reservoir attached. 

5 — Rest the underside of the nib on the bottle 
neck, to drain off surplus ink after each dipping. 

6. — Hold the pen handle in exactly the same po- 
sition you are accustomed to hold a common writing 
pen or pencil, keeping the thumb and first two fingers 
well down or within an inch of the pen point. Al- 
ways remember to keep the bill of the pen flat on the 
surface to be lettered. 

7. — Draw all lines downward, from left to right, 
with a full arm movement. For very small letters the 
wrist may be rested upon surface. Only very slight 
pressure will be necessary to cause the ink to flow 
freely. The great advantage over the brush is, that 
all lines drawn by the speed pen are uniform in width. 

8. — Never attempt to work the pen by pushing 
it upward, if the rule of from left to right is observed 
it will not be necessary to form any of the strokes by 
pushing the pen. 

143 



9. — In order to keep these pens in perfect condi- 
tion the ink should never be allowed to dry in them. 
Allow them to remain in a glass with the nibs just 
covered with water for a few minutes then shake 
them well before laying away. 

10. — Try to keep the body erect when writing, 
avoid leaning over your work. It is just as easy to 
learn show card writing sitting erect. The leaning 
habit is a bad one and very hard to break after once 
established. 

The illustration showing letters, A, B, C, D, E 
and F, is the first lesson on the single stroke half- 
block alphabet. It shows plainly the actual strokes 
of the pen with a rough pen and ink sketch of the 
speed pen in all the different positions the pen should 
be held to form the above letters mentioned. If the 
beginner will study these different positions of the 
speed pen and follow the arrows he is sure to meet 
with success after a little practice. 



144 



CHAPTER XXII. 



Detailed Study of the Speed Pen. 

(Continued) 

Why are these show card studies different from 
any other instructions on lettering? For the simple 
reason the beginner's work is so arranged and planned 
for him along a well defined and practical system. The 
writer having made a specialty of teaching this accom- 
plishment for over twenty years. During this time 
coming in contact with hundreds of students through 
correspondence and personal instruction. The reader 
has the privilege of the question box concerning these 
articles where all questions will be answered promptly. 

Furthermore the text matter accompanying each 
article is written in a simple comprehensive way being 
free from all technical phrases which would mean so 
much "Greek" to the average beginner especially with- 
out the aid of the instructor by his side. Then again, 
a good many text books on lettering were written be- 
fore the advent of modern lettering tools, brushes, reg- 
ular show card inks, etc. 

The average retail merchandiser does not aspire 
to become an expert finished show card writer, but 
what he really desires is, comprehensive, fool-proof 
modern instructions on how to make plain legible at- 
tractive show cards. Thereby enhancing the general 
appearance of his shop, also deriving the full value 
from his show windows and cutting down the expense 
of buying signs outside. 

With a set of speed pens and a bottle of india ink 
the average man can, without any artistic ability or 

145 



o 

2 













Fig. 109 

146 




Fig. 110 

147 



Have You Tried 

our Delicious 

HOT 
COFFEE ? 

Served with Cream 




Fig. 1 I 1 

"talent" soon learn to produce plain original and at- 
tractive cards like the ones reproduced herewith if he 
will only PRACTICE a little every day closely fol- 
lowing each detail given on the alphabet plate and in 
the written text. This half-round block alphabet is 
shown in four installments so the beginner will con- 
centrate and practice on a few letters at a time instead 
of skipping here and there trying to make every letter 
of the alphabet at one time. 

Until recently the field of the lettering pen has 
been a limited one. There are numerous lettering pens 
on the market today which were never heard of just 
a few years ago. But the great demand for show cards 
prompted the invention of this remarkable little letter- 
ing tool called the "Speed Pen." 

With a little practice almost anybody can learn to 
make the elementary strokes like those shown on the 

148 



alphabet plate; First, four right and four left oblique 
strokes; four upright; four left and right crescent 
strokes, and four horizontal strokes. 

When the reader is proficient enough to make 
these strokes free-hand he can with a little more prac- 
tice join them in the different angles forming the let- 
ters as shown below. 

To give a rough idea of what the speed pen looks 
like a sketch of the pen is shown placed in the several 
positions it should be held in order to construct the 
nine letters "G to O." The dotted lines show the length 
of each single stroke, and the arrows indicate its di- 
rection. The small cross mark is where the single 
stroke should terminate, or where another stroke should 
join it. Remember that all strokes should be made 



0f 



19 



Headquarters for 



&* 



CAMERAS 

AND 

Photo 
Supplies 

Printing and 
Developing^ 



SI 



E 



Fig. 112 

149 



K M'im#M;mm§- 



W^Mfi^W 



§0M 



U? YOUR HAIR f 
FALIL, 'PUT ! _ | 

FITCH S . | 

Dandruff Remover I 

WILL KEEP YOUR SCALP 
IN PERFECT CONDITIO!^ 



Fig. 113 

from left to right and from top guide line downward. 
Do not attempt to draw an upright stroke by "push- 
ing" the pen upward. To form the basic part of 'the 
letter "H," it requires but two perpendicular or up- 
right strokes, and one horizontal cross stroke in the 
center. The short strokes at the top and bottom, Nos. 
4, 5, 6 and 7, even off the strokes and complete the 
letter. The pen handle should be held in a natural 
position just as one would hold a common writing pen. 
Each pen point is equipped with a small reservoir 
which is attached to the pen and retains sufficient ink 
to write several words. After dipping pen in ink rest 
the bill of pen for an instant on the neck of bottle to 
prevent any ink from dropping on the card. 

The pens are made with round or square "bills" 

150 



Stationery 




High- Grade quality 
for your particular : 
correspondence j- 
By the box ^ 
Specially priced^ ; 

„ , ; L ;_ __, __^. 



Fig. 114 

and come in six different sizes. The round bill pens 
being the most popular of the two styles and the easier 



Pill 1 ? =£MET -. 

Tooth Paste 

^A DELIGHTFUL 

DENTR1FRICE 
j CONTAINING 
EMETINE 



Fig. 115 

151 









Home -Made 

Chocolate 

Walnut » 

FUDGE 

I 




Fig. 116 

of the two to operate. The beginner should remember 
to keep the bill of pen FLAT on the surface at all 
times when writing. 

A good way to practice the different elementary 
strokes as shown on plate is to first rule eight left 
oblique lines about the width of pen stroke, then pro- 
ceed to fill-in, by drawing the pen down through every 
other ruled line. The ruled line will act as a guide 
to keep the stroke straight. For making the circular 
or crescent strokes draw eight circles one within an- 
other, then proceed to fill in every other circle. Pro- 
ceed to practice the upright and horizontal strokes the 
same way as the oblique strokes. If the beginner ex- 
periences great difficulty in keeping the lines straight 
by doing it free-hand he may use a ruler to guide the 
pen until he gets the hang of holding the pen. 

152 






The show cards reproduced herewith measure 14x 
16 inches, which is six inches shorter than a half-sheet. 
The card featuring "Hot Coffee" was done with num- 
bers 2 and 6, round bill speed pens. The letters are 
grouped at the left and right of card. This is a very- 
simple lay-out as it does not require an equal distance 
of lettering from the center of card. A pencil line is 
drawn about two inches from the outside edge of card 
at the left and right. The top group of lettering starts 
at the left line and the bottom group of lettering ends 
at the right pencil line. The price ten cents was out- 
lined with number 2, speed pen and may be filled-in 
with a small brush. 

The card featuring "Home-Made Chocolate 
Fudge," is what is called a "Dead Center" lay-out; a 
plumb upright line is drawn through the center of card 
and all lettering or words are equally balanced to the 
right and left of this center line. For instance, "Home- 
Made" having an equal amount of letters so the space 
between these two words would come directly on the 
center line. The words "FUDGE" has five letters of 
equal width so this would bring the center line directly 
through the letter "D." In making the price 40 cents, 
the four would be at the left and the zero at the right 
of center line. This system of lay out of course re- 
quires a little more care than that of "left and right." 

These show cards were "knocked out" in much 
less time than it would take to do the same amount 
of lettering with any other kind of lettering pen or 
brush. 



153 



CHAPTER XXIII. 



Detailed Study of the Speed Pen. 

(Continued) 

The mere fact that show card writing is being 
successfully taught in Trade and Public Schools 
shows that this accomplishment is not alone for the 
"artistically inclined." There are many artists who 
are proficient letterers, also .many more proficient 
letterers who are not artists. When one stops to con- 
sider that there are but twenty-six letters in the al- 
phabet, and only nine different key strokes to learn 
in order to construct these letters, it is very evident 
that with proper instructions and modern appliances 
any intelligent person who understands the importance 
of application can soon produce legible show cards. 

The Single stroke Half-Block letters, P, Q, R, S, T, 
and U, constitute the third installment lesson on this 
alphabet. The beginner will make much better pro- 
gress by concentrating his practice work on groups 
of six or more letters at a time instead of practicing 
at random from a complete alphabet. 

The reader's attention is called to the illustration 
of the hand, showing the correct position in which 
the pen should be held. The round bill of pen should 
at all times be kept flat on the surface to be lettered. 
The holder is held firmly between the thumb, index, 
and middle fingers, while the hand rests on the lower 
wrist joint and the little finger. 

The fingers should not be cramped. USE 'A 
FULL ARM MOVEMENT. Tne fingers and wrist 
should not be used at all. This is very important. 
Pressure on the pen will cause the writing fluid to 

154 




Fig. 117 

155 



D 



Fig. 118 

156 




Milwaukee 

Chocolates 

^Always Tresh 

Jsluis '-sskv Creams, 
J$> Fresh Fruits. 



. : 



Fig. 119 

flow and will make the line uniform. Rest the pen 
for an instant at the end of each stroke to assure 
rounded terminals. 

It is a good policy to practice the six key strokes 
in all directions as illustrated, before attempting to 
copy the perfect letters. In making all perpendiculai 
or upright strokes the pen should be drawn down- 
ward and from left to right starting at the top guide 
line. Do not push the pen upward. The pen should 
be removed from the card when within a fraction of 
the bottom guide line, and a short block stroke evens 
off the basic strokes. 

Almost any kind of show card ink will work well 
in these pens if used not too thick, India ink seems 
to be given the preference on account of its free flow- 

157 



ing qualities. Use cardboard which has a fairly 
smooth surface. Place the card to be lettered square- 
ly in front of you slightly to the right. Each pen has 
a reservoir attached to the point which permits the 
writing of several words if the pen is dipped deeply 
enough to fill it. Immediately after dipping pen in 
bottle rest the underside of the nib on the bottle neck 
to drain off surplus ink, in order to prevent blots or 
drips upon your work. Unlike any other style of let- 
tering pen these pens will stand a great amount of 
pressure without bending or breaking. 

The beginner should try to keep his design of 
lettering well balanced, avoid crowding of words or 
making the size of letters too large for the space. A 



J Stick 




I he Old. Fashioned 
Remedy for 
Coughs and Colds. 



Fig. 120 
158 




French Eaude Quinine 
Hair Beautifier 
J>£ Scalp Cleaner 



Fig. 121 

well arranged layout of small lettering is easier to 
read and looks better than trying to feature every line 
of lettering in big type. A red underline will in most 
cases be far more effective than large letters which 
give the appearance of being crowded. 

The nine simple key strokes as illustrated at the 
bottom of the alphabet plate are self explanatory. Be- 
ginning with key stroke No. 1, the arrow points in 
what direction the stroke is taken starting at the top 
guide line. This is the first stroke taken in making 
the capital letters, B, D, E, F, H, I, J, K, L, M, N, 
P, R, T, U and Y. 

Stroke No. 2 is generally a short horizontal stroke 
used in constructing letters A, E, F, G, H, L, T, and 
Z; it is the center stroke in the letters A, E, F, G, 



159 



Tfaaeto do Your 

Minting 
now 

Paints, 4 Brushes, 
Kalsomines, ][ Sponea 
Varnishes j . Cleaners 



Fig. 122 

and H, and the top and bottom strokes in the letters 
L, T, and Z. 




Stroke No. 3 is the right loop stroke used in con- 
structing the letters B, D, P and R. 

Strokes No. 4 and No. 5 are known as the right 
and left angle strokes, and are used in making the 
letters A, M, K, N, V, W, X and Z. 

Stroke No. 6 is a crescent or semi-circle stroke 
which is made right and left, and is the basic stroke 
used in the construction of the letters C, D, G, O, and 

Q- 

Strokes Nos. 7, 8 and 9 are the full strokes used 
in constructing the letter S ; No. 9 being the bottom 
stroke of the letter J. 

The beginner should concentrate his practice on 
the nine elementary strokes before attempting to 
copy the letters. 

In order to ascertain the correct angle in which 
the pen should be placed on the paper the beginner 
should take a yard stick or thick ruler, resting the 
pen against the ruler to the lines. Guiding the pen 
in this manner will soon show you just how it should 
be placed on the card. 



lostetter, 
SI 





I 



m 



Relieves Dyspepsia. 
Indigestion ^ Biliousness. 



Fig. 124 

161 



The basic part of the lower case letters should 
be one-third the height of all capital letters. The 
lower case letters which extend above the base guide 
line are b, d, f, g, h, i, j, k, 1, p, q and y, thus bringing 
them on the same line with the capital letters. The 
lower case letters which are within the base guide 
line are a, c, e, m, n, o, r, s, u, v, w, and x. Those which 
extend below are g, j, p, q and y. 

The nine key strokes apply to the lower case let- 
ters as well as the capital letters. 

The beginner should realize that no definite rule 
can be laid down for the spacing of letters on a show 
card; this will naturally come after the beginner has 
mastered the fundamentals of lettering. For in- 
stance, all round letters such as C, D, G, O, S and Q 
should be spaced a trifle more closely to each other, 
and the full space letters such as, M, N, B, H, K, R, 
U, X, Z and E should have more space between them. 

All open space letters W, Y, P, T, L, J, A, and 
F, should be more closely spaced together on account 
of their open shape. 

Words should not be divided at the end of a line 
as it spoils the appearance of the card. 






162 



CHAPTER XXIV. 



Detailed Study of the Speed Pen. 

(Continued) 

The difference between lettering with a brush and 
the speed pen is : A brush will naturally spread out un- 
der pressure and when removed from card will leave an 
unfinished end which must be evened off by turning the 
brush sideways. 

The speed pen will not spread under pressure and if 
the bill of pen is kept FLAT on the surface the end of 
stroke will not be ragged when pen is removed. 

While the speed pen is the speediest tool invented 
for hurry-up work it will not do very large or fancy let- 
tering like a red sable brush, but for general descriptive 
data this pen is in a class by itself. 

There is one very important thing that all beginners 
in show card writing should keep in mind, and that is, 
brevity in copy; for no matter how finished a job of let- 
tering may be, it's a failure if the card has the appear- 
ance of being crowded. Study your copy and then see 
how much you can boil it down. Eliminate all unneces- 
sary words and particularly all superfluous "and's," 
"if's," "of's," etc. There is a big difference in telling the 
story in a newspaper, and writing it on a show card. The 
card is generally placed on or near the article displayed 
which more or less speaks for itself, while in the news- 
paper a detailed description is essential. A great many 
copy writers have learned through intensive practice 
that the longest story can be told in a brief way and far 
more effectively. How often have we heard people say, 
"I don't have time to read much of the newspaper in the 
morning I just read the headlines." 

163 










Ni 






% 



:a 



^ 



kn 







Fig. 125 

164 





- 


i 




Fig. 126 

165 



Candy 

By the boX" 

Always 
Fresh 

^Specially Priced 



Fig. 127 

Notice the brief composition on the accompanying 
show cards illustrated herewith. In a case where mer- 
chandise is nationally advertised, such as "Bayers' As- 
pirin" or "Nuxated Iron," "Beechams Pill" or "Boncilla 
Cosmetics," etc., the general public is primed into a buy- 
ing mood by an expensive, intensive and progressive 
scientific advertising campaign. The manufacturer has 
paid for all this, and it's an opportunity for every man 
behind the counter to cash-in by the judicious use of 
show cards, and with very little effort he can soon learn 
to use the speed pen. 

In general appearance the speed pen is practically 
like the ordinary steel pen — with these differences: (1) 

166 



Instead of the usual points, the nibs consist of two 
hemispherical, flat surfaces with a thin split between 
them. Together they form a perfect circle, so that 
whenever the pen is placed on any surface it produces a 
solid circle of ink or color; and, if drawn along, a solid, 
uniform line w T ith those perfectly rounded terminals so 
difficult to obtain with other drawing or lettering instru- 
ments. (2) These pens have an ink reservoir which re- 
tains sufficient ink for a stroke of considerable length, 
and renders unnecessary frequent dipping into the ink 
bottle. It is very important that the ink should not be 
either too thick or too thin, the regular show card inks 



SSjy-;, 5 ' 




K 




Perfect 
Sodas 

Made with Pure 
Fruit Juices 



a 



Fig. 128 

167 






Protect your skin _ 
and retain your youth 






BeautiTier _, Cold Cream, 
Vanishing Cream- Face Powder 



Fig. 129 

must be diluted with water until just right. India inks 
are of course much more expensive than show card inks, 






Genuine 

- Bayer _ 

Aspirin 

For Aches & Pains 



Fig. 130 

168 



Now is the time 
to take 

NUXATED 

Iron 

For Red Blood 
Strength and 

Endurance^. 



71 




Fig. 13 1 

but work the best in the speed pens. Remember the pen 
will not work unless the flat bill is at all times FLAT 
upon the card or surface to be lettered. Very little pres- 
sure will cause the writing fluid to flow. 

It is only necessary to use 14 words on the show 
card featuring "Nuxated Iron" to carry positive and 
convincing selling punch. "Beechams Pills" is another 
case where dominant advertising keeps the merits of this 
worth while family medicine steadily before the public. 

The writer wishes to emphasize the importance of 
just plain white show cards with neat black lettering, 
with possibly a little grey shading or border. 

Highly colored fancy lithographs have their place 
of course but at best they have the stiff appearance of 

169 



the stereotyped printed litho, some of which are so very 
much overdone in color combination that they do not 
find a place in the modern store window. A plain 
black and white hand lettered show card of a legible 
well balanced character carries more weight and is much 
more compelling than a whole set background of highly 
colored pictorial lithographic "stuff." 

The letters V, W, X, Y & Z, are known as the angle 
letters. With the exception of the letter M these let- 
ters occupy more room than any of the other letters of 
the alphabet. This is mainly on account of their spread- 
ing angle formation. If the reader will study the ele- 
mentary strokes used in constructing these five letters he 
will observe that the letters V, W, X, & Y are really a 




Beechams 
Pills 

The safe and sane 
family medicine 

V 

Box. 




Fig. 132 

170 



part of each other. For instance, two V's, joined to- 
gether form the letter W, two X's joined together also 
form "W." Join two Y's, at the top and you have W 
again. The top part of the letter X is formed by the 
basic strokes of the letter Y. The letter Z which is sel- 
dom used is simply formed by three strokes, namely, top, 
bottom, horizontal, and one oblique stroke in the center. 

The way that show cards are displayed has a great 
deal to do with their appearance and cash value, for no 
matter how well the job of lettering is done, if the card 
is warped or bent over, or the corners are dog-eared it 
is a misfit. Unless a show card is at least of 12 ply thick- 
ness it should either be placed in a picture frame or 
mounted on a cheap wooden frame with glue and passe- 
partout binding pasted around the edges. 

The mounting of show cards is usually done in the 
following manner : Cut wooden sticks the exact dimen- 
sions of your show cards (use iy 2 inch x %, or 1 inch x 
Y% inch white pine or white wood). The corners should 
be mitered and stuck together with heavy glue and held 
in place with one finishing nail driven in each corner. 
After show card is lettered paste it on the frame using 
the same heavy glue. After the glue is set paste the 
passepartout binding around the edges. Use one inch or 
inch and one-half binding and lap over on face of show 
card about one-half inch. The beauty of these frames 
is that after they are once made up they may be used 
over and over again. If the reader does not care to 
bother with the mussy operation of glueing, the cards 
may be tacked on the frames using small upholsterers' 
tacks about two inches apart. These will not show, of 
course, after the binding is pasted on. 

If it is inconvenient to procure the passepartout, 
binding strips of wall paper about two inches wide may 
be used instead. Select a pattern of wall paper which 
will harmonize with the general color scheme of display. 
Use library or common flour-paste, very thick, and 
smooth out any wrinkles with a piece of cloth. 

171 



CHAPTER XXV. 



Easy Stencil Lettering. 



Nearly every retail merchandiser occasionally is 
in need of a good stencil alphabet together with a few 
simple instructions telling him how to cut letters for 
stencils. 

The process of cutting letters for stencil work is 
very simple when one knows just where to cut, and 
just how to prepare the paper pattern so it will hold up 
and permit the operator to produce from fifty to two 
hundred show-cards or signs with one set of letters. 
There are many articles which the merchandiser would 
like to feature all the time, but he has not the time to 
be continually making fresh show-cards, and a card 
that is soiled or defaced in any way has lost its power 
as an advertising medium. Duplicate signs and paper 
flyers for the soda fountain (which must be continually 
changed) may be made in a few seconds by having a 
stencil handy. There are regular brushes, with short 
stubby bristles cut square, made specially for this pur- 
pose. Stencils for inside use may be done with show- 
card water color inks. Those for outside use may be 
done with oil or Japan colors. Both the oil and water 
colors should be as thick as possible to prevent the 
paint from spreading or working under the letters and 
smearing the card. 

The selection of material for making stencils de- 
pends a good deal upon the number of show cards re- 
quired. For instance, if ten or twelve prints are re- 
quired, a plain piece of Manilla paper will answer. It 
may be prepared in the following manner: After 
marking out the letters or pattern in lead pencil or 
crayon give the whole pattern surface a thin coat of 
white or orange shellac. The pencil marks will show 

172 




Fig. 134 

plainly through the transparent shellac coating. In 
from fifteen to twenty minutes the shellac will be suf- 
ficiently dry for the letters to be cut out. It is always 
advisable to make one or two extra impressions of the 
same kind of paper before the stencil begins to wear 
out. This will save the time required to draught an- 
other should the original stencil break. 

If sixty or more impressions are required, it is best 
to procure the regular oil paper which is especially pre- 
pared for stencil work. It is very easily cut and will 
last for some time. 

Should a stencil of permanency be required, 
choose something that is practically indestructible. The 
best thing to use in sheet celluloid, such as is used for 
side curtains on automobiles. It comes 20x48 inches 
and is on sale at most auto supply stores. On account 
of its transparency it may be placed over a pattern of 
letters or any stencil design. The cutting should be 
done with the tip end of a sharp pointed pen knife. 
If the knife is held slightly on a slant instead of per- 
fectly straight while cutting it will not be so easy to 
break or wrinkle the stencil. 

Stencils should never be rolled up, but should be 
kept in a flat position, either between the leaves of 
some book or under some heavy weight. This will pre- 
vent curling up or the breaking of the ties which hold 
the centers of the letters in place. 

In cutting paper stencils, first sketch out a rough 
design in pencil. Then lay the sheet over a smooth sur- 

174 



I 

1 



s 










Fig. 136 

face. (A piece of glass or a smooth piece of soft wood 
is the best surface to cut on). The word "TIE" means 
the thin connecting strip which holds the center of the 
letter in place, permitting the rest of the letters to be 
cut away. The beginner should study the alphabet 
shown herewith until he is familiar with these ties and 
just where they support each letter. The breaks or 
open spaces shown on each letter, (excepting letter 
"1") show where the ties or supports hold the letter in 
place. The wider the ties the longer will the stencil 
last. 

The stencil should be held firmly while stenciling, 
or the color may work under the pattern and the edges 
of the letters will be ragged. Coach colors ground in 
Japan if used in heavy paste form work the best. (If 
too thick add a few drops of turpentine). Water 
colors or the regular prepared show-card inks may be 
used for indoor show-cards. These also must be used 
thick. 

Only the round regular stencil brushes should be 
used. These are of hard bristle, and the hairs are short 
and stubby. They may be had in several sizes. The 
proper way to apply the color is to place a small 
amount in a saucer or on a piece of wood or glass. 
Then proceed to go over the stencil using a patting or 
pouncing motion. Do not use a slide or slide move- 
ment, as this will surely break any stencil and leave the 
letters streaked. After dipping the brush in the ink 
pounce it several times on a piece of paper or wood so 
as not to get too much ink on the stencil. 

176 



KODAKS 

developing 
sprinting 

24--H0URSEMCE 



Fig. 137. 

After the show card is finished the ties may be 
painted out with a small brush. This will give the let- 
tering a hand style appearance. 

The letters which will require the most care in cut- 
ting are the round letters : B, C, D, G, O, P, Q, R, and 
S. The remaining letters will be easier to cut out on 
account of their simply straight lines. 

The small blade of a pen knife may be kept al- 
ways sharp by rubbing it occasionally on an oil stone. 
Do not attempt to cut a stencil with a dull knife. 

The beginner will notice that some letters require 
one, two, or three supports or ties, while the capital 
letter "I" requires none at all. The letters F, J, L, and 
T would hold up for a while without any ties because 
there is no center, to be cut away as there is in the 
round letters mentioned before. Of course, the more 
ties are used, the stronger the stencil will be. 



Inscriptions 
Accurately 
Compounded 

Brae/on? ffiarmaey 



Fig. 138 
177 



Stencils are excellent for soda fountain specials. 
These could be stencilled on the mirror back of the 
fountain or on white strips of paper. Little fancy de- 
signs or scrolls may also be added. Roses or other 
flowers may be cut from wall paper or seed catalogues 
and used for border stenciling. 

The alphabet shown here is known as Uniform- 
Stroke Gothic. The letters are made in one, two, three, 
four, or more single-strokes, as the arrows and num- 
bers of the strokes signify on the plate. The first stroke 
taken in forming these letters is always at the left, then 
at the right, and then the centre. For letters of this 
character two or three inches high it is best to use a 
No. 1 2 red sable brush. Each time the brush is dipped 
in the ink it should be worked out into a flat position 
on a piece of paper or card. This will, after a time, 
train it to keep a flat chisel edge. In practicing, the 
beginner should never try to do any lettering without 
upper and lower guide lines to indicate the height of 
the letters. The daily newspaper makes an ideal back- 
ground on which to practice lettering, as the column 
lines are already drawn, and thus the cost of practic- 
ing is reduced to a minimum. 



I7tt 



CHAPTER XXVI. 



The Silhouette Effect in Show-Cards. 



To be effective, a show-card must have a certain 
amount of originality in its make-up. It must be dis- 
tinctive in style with enough "pep" to make it compel- 
ling and forceful and absolutely different from the 
other fellow's. 

All this may be accomplished, without a single bit 
of color, on a white card with plain black lettering, if 
the silhouette effect is carried out as in the cards shown 
in this article. There is no shading to be done, no high- 
light to consider. The scheme is to trace a picture on 
the card in pencil, outline it, and then fill it all in with 
black show-card ink. 

There is something very fascinating about a jet 
black silhouette on a white background, and it is really 
about the easiest thing to get up when once you know 
just how to go about it. There is a great demand to- 
day for illustrated show-cards and this silhouette idea 
will help the fellow who is not "artistically" inclined. 

The mistake that most beginners make is that 
they select pictures or illustrations that are too big for 
the size of the card used. It must also be remembered 
that the coloring of the letters should harmonize with 
the color scheme of the picture. If the picture is done 
in dark tones, and the lettering in bright colors, the ef- 
fect of the picture is lost. 

The card featuring "CHLOROX" Tooth Paste is 
22x14 inches, known as one-half sheet. It was lettered 
the landscape way. Whether a card should be lettered 
"landscape" or "upright" depends entirely upon where 
it is to be used. 

The silhouette picture was cut from a Chlorox ad- 
vertisement in the NATIONAL DRUG CLERK with 

179 




J\\\ Havana 




StraLofd 



Regular 2 for 254 



Fig. 140 

the aid of a sharp pointed pen knife. Use any solid 
level surface to cut on. Cut slowly, holding the knife 
at a slight angle. 

One can create this silhouette effect in any one of 
several ways. This way is perhaps, most simple. First 
cut out the picture with a sharp pointed knife or with a 
small pair of scissors, being very careful to have all the 
most important details stand out in outline. After the 
picture is cut out, coat it all over with black show-card 
color or India ink. As the ink begins to dry, the pic- 
ture will start to curl up. It may be straightened out 
again by placing it between the leaves of a book. 

The next move is to coat the back with white 
library paste, being careful to spread the paste on 
evenly. 

In pasting pictures on show-cards you will have 
to act quickly on account of the quick drying quality of 
the library paste. It is a good idea to place a piece of 
cardboard over the picture and press down firmly, 
using a circular motion of the fist. This will smooth 

181 



Lw&>r*aLi*£>rjl 



Yoiive tried the rest 
Now *ry. the best 



Salted 

Peanuts 



5f 

^-^ teg 



IBM m-K 



Fig. 141 

out all the wrinkles and prevent any air bubbles or 
edges from sticking up. If the picture tears, it is easy 
enough to patch it up with a little of the same dull 
black ink. 

Another way of doing this silhouette work is 
equally effective but may require more time is to cut 
the picture out and then place it on the card in the 
position in which you wish it to appear. Now proceed 
to outline it entirely with a pencil which has been 
sharpened to a fine point. Then remove the picture 
from card, and with a small brush (No. 4 or 6 brush 
will do) dipped in ink follow the pencil marks, form- 
ing the outline of the silhouette. Last of all fill in the 
whole picture with solid black ink. This method is best 
where two illustrations of the same kind are wanted 
on the one card, as the two rows of elephants on the 
card featuring peanuts. This card is also one-half sheet 
(22x14). The picture of the first elephant was cut 
from the NATIONAL DRUG CLERK and the others 
were outlined from this pattern. In filling in the solid 
black, a little white dot was left for the eye. 

If you will notice the silhouette of the man smok- 

182 




-\?he improved 

MALTED 
MILK 



15 



Fig. 142 

ing the cigar on the "Saturday Special" card, you will 
see white lines showing the eye, nose, and moustache. 
These lines were cut in the silhouette, letting the white 
cardboard show through, but a little touch of white 
paint will answer just as well. 

Black lines or borders around the show-cards are 
done in the following manner: 

Hold the card in the left hand and the brush be- 
tween the thumb and first finger of the right hand, and 
draw the tip of third finger along the outside edge of 
card. The edge, being straight, acts as a guide in keep- 
ing the lines straight as the brush is drawn along. This 
process may be difficult at the first attempt, but with a 
little patience and practice the beginner will soon ac- 
quire the knack. Of course these lines may be drawn 
with a yard stick and a number 3 or 4 lettering pen. 

Most show-card writers keep a scrap book and 
any time that they see a good picture or cut they could 
use on a show-card, they tear it out and file it away 
for future use. 

The beginner should not criticise his first attempts 
at show-card writing too severely, as practice is the 
main road to success in this line of work. 

183 



CHAPTER XXVII. 



How To Use Wall Paper For Show-Cards, 



The writer secured these wall paper backgrounds 
for show cards from an old sample book. If these 
sample books are hard to obtain, it is an easy matter 
to procure short ends of rolls from the paper hangers. 

The beginner will be surprised to find out how 
easy it is to letter on wall paper, the surface being 
idea for brush work. The ink dries quickly and the 
brush will not slip as it sometimes does on the high 
gloss finish of the calendar stock cardboard. 

The scheme is to procure a picture frame (without 
the glass), any regular stock size desired, cut a piece 
of pasteboard to fit the frame (a box cover, a piece of 
compo board, or any stiff composition), and then pro- 
ceed to cover both sides of board with the pattern of 
wall paper you wish to letter on. Both sides being cov- 
ered will prevent the cardboard from warping. 

It may be lettered on both sides, thereby giving 
double service. This card may be used several times, 
because the stiffer it becomes the better it will hold up 
in the frame. A plain black frame greatly enhances the 
appearance of the show-card and keeps the edges of 
card from becoming dog-eared or broken. It also al- 
lows the card to be handled several times without be- 
coming soiled. The card may be kept in place by eight 
nails or pins, two at the top, two at the bottom, and 
two at each side. A much more practical way would be 
to cut a strip of wood which could be placed in the 
frame to hold the show card in place. A little brass 
button fastened at the top and at the bottom of the 
back of the frames should, in turn, hold the strip of 
wood in place. 

The pasting of wall paper on a small surface like 
a show-card is a very simple process, and almost any 

184 



kind of library paste or composition of flour and water 
will do. Do not use mucilage, as air bubbles are apt 
to appear. 

In pasting, do not use too small a brush, as it 
would take too long to cover the surface and the paste 
might dry uneven in spots, causing wrinkles which 
would be hard to get out. After applying the wall 
paper, already covered with the paste, to the card, 
place a piece of paper or card over all and smooth out 
the wrinkles with the fist, using a rotary motion. Then 
place under a book or some heavy weight to dry. 

There are many dainty and artistic patterns of 
wall paper which would make beautiful and attractive 
candy signs. For the small size candy signs cut up a 
large sheet which has been covered with wall paper on 
one side only into sizes, say two inches by four inches. 
On a slight tan wall paper background, do lettering in 
dark brown. 

Some of the rich colorings and two-tone effects 
which may now be had in wall papers surpass some 
of the most expensive ripple and mottled mattboards, 




Hello 
John! 

1 want to thank 
cyoii for thai 
jp delicious bo^ 




(^ocolales 



Have YOU TrIed 

Our 

Delicious 
HOT 

Luncheon 

TO-DAY 

.Served at 
the Fountain 



Fig. 143 



185 



Fig. 144 




Fig. 145 



Special 

HOT 

WATER 

BOTTLES 




Fig. 146 



and the work being done in spare time, the price is cut 
to a minimum. 

For window displays wall paper should be se- 
lected to harmonize with the color scheme of the boxes 
and decorations. At holiday time flowered patterns 
and so on, can be used. The ideas really are unlimited. 

Care should be taken not to draw the pencil lines 
too heavy, as it is impossible to erase them without 
marring the wall paper pattern. It is best to use chalk 
or charcoal which is easily brushed off. 



186 



CHAPTER XXVIII. 



Utilizing Trade Marks in Show-Card Writing, 



The two most important things to be considered 
in learning show-card writing are legibility and brevity, 
so that "those who run may read." For instance take 
any nationally advertised product such as "Ivory Pyra- 
lin," one of the many products of DuPont. Such trade- 
marks or imprints should be written on the show-card 
and copied as nearly as possible to the familiar adver- 
tised imprint that appears periodically in twenty-five 
or more magazines, or, other familiar trade marks such 
as "Davol," "Boncilla," "Analgesic Balm," "Green 
River," "Colgates," "Hygeia," Armour's "Veribest," 
and many others too numerous to mention. 

By producing a facsimile of the trade marks the 
show-card writer does not have to use such a lengthy 
copy or description and derives the benefit of expen- 
sive advertising which the manufacturer pays for. 

Hand-lettered show-cards lettered in a plain legi- 
ble manner, using as little reading matter as possible, 
will bring greater results than would a display crammed 
full of highly colored printed lithograph show-cards. 
Hand-lettered show-cards, even of the very plainest 
kind, are more attractive, and have a certain amount 
of individuality that the stereotyped printed ones do 
not possess. 

Illustrations on a show-card should be used to de- 
liver the selling punch and not with the sole idea of 
making the card "artistic." Each imprint or trade mark 
illustrated herewith is a rough, crude copy of the smal- 
ler original one shown by it. It is not necessary that it 
should be as perfect as the copy as long as the general 
character and important details are emulated. 

The idea is to first sketch it out roughly in lead 
pencil, after which outline or retrace the outline with a 

187 



small brush. Finish by filling in the skeleton letter with 
a larger size brush. 

Each one of these designs is so distinctive in char- 
acter and simple in design that it will require but little 
effort on the part of the amateur to produce a legible 
facsimile. Two other methods may be employed in 
copying these imprints. One with the aid of a panto- 
graph for enlarging, or if the proportions of copy are 
of the exact size desired, the imprint may be repro- 
duced on the show-card in the following manner: 

Procure a piece of tracing paper — any thin trans- 
parent paper will do — place this over the imprint to be 
copied, and trace the outline of letters through. Then 
rub a little dry color, in powder form, on the back of 
traced pattern when finished. This will act as a carbon, 
and by retracing over the outline made on tracing 
paper with a sharp pointed instrument, the pattern may 
be accurately reproduced on the show-card. 

Beginners who experience difficulty in keeping 
their perpendicular strokes perfectly upright should 
practice by ruling six or more upright lines one-half 

Practice these strokes 




Armour's 



roainal 



ROOT BEER 



Analgesic Balm **. 



NON-CREAS* 



Armours AnalgesicBalm 

* - ^ EX-LAX*— «w*«*iy 

V&iweM m E X- L AX 



Fig. 148 



Fig. 149 



inch apart, with a yard stick or ruler, then exercise care 
to follow inside these lines with the brush. The eye 
and the hand will unconsciously become accustomed to 
this operation through practice and the difficulty will 
soon be overcome. 

The best way to practice the circular strokes 
is to draw a series of perfect circles with the aid 
of a compass or any round object, then closely follow 
the outline with the brush, forming one-half the circle 
at a time, trying all the time to keep inside the ruled 
line. 

Try when making a sweep brush stroke, to do it 
boldly, and never stop when in the middle of a stroke. 
Remember the old saying — "Those who hesitate are 
lost." 

With an inexpensive outfit of proper lettering 
brushes and regular show-card ink, almost any one who 
is ambitious enough to practice and follow the instruc- 



Setfgtbt 




CJvoru 
Jriiralin 



OrLju 



SJvory t 



CHARMS 



^CDP^< 




Green River ««^ 



ffeenn mvt 



Fig. 150 



Fig. 151 



189 



tions given in this book, can learn to write show-cards 
in a few months' time. 

Of course, no one can reasonably expect to make 
a lettering pen or brush do exactly what they want it 
to do in three or four spasmodic attempts. Such a thing 
is out of all reason, but anyone who is willing to do 
a lot of systematic practicing (one-half an hour, four 
or five times a week, is enough) will, with these prac- 
tical instructions, soon obtain pleasing and encourag- 
ing results. 

The beginner or amateur should not be afraid to 
exhibit his first attempts at lettering in the window, be- 
cause in show-card writing it is a case of doing a little 
better with each attempt. Just stick to plain letters and 
do not attempt any kind of fancy work, scrolls or 
ornamentations. 

Show-card writing is one of the most profitable 
side lines that anybody could take up, considering the 
time spent in lettering and the small cost of an equip- 
ment. It is advisable to save some of our first attempts 
at lettering and compare them as we go along. The 
progress made will be most interesting and encourag- 
ing. 



The End. 



190 



Show 
Card 
Writing 
Supplies 



Special attention given orders from stu- 
dents of this book who are studying 
Jowitt's Course in Show Card Writing. 



Western Show Card Supply House 

2058 N. Western Ave. Chicago, 111. 



191 



